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GALLERY: A Year at the Iridium Without Les Paul
In year after Les Paul''s death, a diverse array of talented guitarists took the stage on Monday nights to fill in with the Les Paul Trio. Photographer Frank White shares his images of some of the performers.
Rebecca Dirks graduated from the University of Iowa with degrees in journalism and art, and joined Premier Guitar as an intern in 2007. She lives in the Iowa City area with her husband, two giant dogs, and more cats than are appropriate to mention. When not petsitting, she enjoys challenging herself in the kitchen, watching the Packers dominate, and discovering new music or rediscovering old favorites.
Though the business of cloning pedals is competitive (and endless fodder for frothing Reddit denizens), I appreciate when a pedal company offers a useful twist on an established formula.Warm Audio accomplishes this with the Throne of Tone. It is clearly inspired by theAnalog Man King of Tone. But it is also very obviously a nod to the Marshall Bluesbreaker, the pedal that Mike Piera used as a departure point for his KOT design. The Throne of Tone, though, might mark the point at which the snake bites its tail. It cross-pollinates the circuits in a dual overdrive that opens up many, many tone-coloring avenues and options.
Split Personality
Mike Piera ripped up a friend’s Bluesbreaker to build the first King of Tone. But by the time he rewired it, it was a different pedal altogether. To the extent that the KOT and Bluesbreaker sections are accurate in the Throne of Tone, the differences between the original Bluesbreaker and King of Tone are easy to hear. It’s hard to accurately assess the accuracy of the Throne of Tone’s two circuits without a real-deal King of Tone or Bluesbreaker at hand. But I’ve played through both as well as excellent clones, and in both sound and feel, both Throne of Tone circuits are in the ballpark and better.
In very general terms, that means the “king” side is a bit less aggressive, darker, and more dynamically responsive to changes in pick intensity—especially when you want to go from gnarly to truly clean. The “blues” side is a bit more dynamite, revved up, and lively in the midrange. It’s more immediate and a bit harder to keep on a leash for dynamic purposes. But the Throne of Tone is a great multiplier—and mixer—of these qualities, because you can experience each basic voice through the lens of high gain and low gain settings, a boost, an overdrive or a distortion. Additionally, output from each side can be modified with a presence control which appears on neither pedal in its original form. Add up the possible tone permutations and, well, you’ll probably be less occupied with the accuracy of the circuits, and more excited about harnessing the copious killer tones here.
Pick A Door
Of the three modes, the boost is the most user friendly and easy to apply to a base tone that just needs heft and body. It’s also great for demonstrating the basic duality in the king and blues voices—which align along a Marshall/Fender divide. The blues, or Marshall-like side feels considerably more compressed as a boost, but it positively rings in the high-mid zone. If you want a guitar to be boss in a mix it dishes the goods. But it’s agreeable too, and flattered PAFs, Telecaster single-coils, Wide-Range humbuckers, and a Rickenbacker 12-string—lending all of them an infectious, excited edge. Matched with an EL84 amp it can feel a touch redundant, but with 6L6 amps it shines. The king, or more Fendery side, sounds comparatively scooped. It feels much less hyperactive, and it excels in the clean, low-gain range, but it also gets squishy when you dig in.
These same qualities are very apparent in the overdrive mode. Each voice sounds more compressed than the boost mode. But the higher reaches of the gain controls yield treasure. Here again, the blues side was explosive—sounding at many settings like Malcolm and Angus Young after consuming a bag of firecrackers. Angry but fun. The king’s OD side, at high gain range, sounds much more like a mid- to late-’60s Bassman at high volume: crunchy, but softer around the edges. Each of these voices can be nudged into more savage extremes by the high-gain toggle, which depending on your amp and guitar, can be surprisingly airy to downright sizzly.
The distortion mode kicks the high-midrange in the pants, but retains much of the overdrive mode’s basic coloration. It’s an especially cool match for 6L6 amps—especially on the king side. But the way the distortion modes remain responsive to dynamic input like volume and touch variation is impressive. Distortions can often sound quite binary—either raging or gobbling up midrange oxygen. Both distortions in the Throne of Tone give you gray area to work with that can range down to chiming clean tones.
The Verdict
The original King of Tone and Bluesbreaker pedals are revered for good reason. And if Warm Audio’s take on the two circuits represents even 80 percent of those pedals’ prime tonality, you’ll still hear and feel what makes them special. As a whole, the Throne of Tone is adaptive and versatile. The kind of pedal that could save your hide and solve problems in a studio. But it could work the same magic in a live situation, especially one with a backline surprise in store. In performance, the vertically oriented mini toggles, which are situated perilously close to the bypass switches, could be a liability. I accidentally switched the gain and mode switches with my toe more than once. That’s a shame, because they make experimentation so much easier than when DIP switches are in the mix. It’s hardly a dealbreaker, though. For $229, the Throne of Tone offers a very big bucketful of tone options that can span civilized and rabid.
Though the business of cloning pedals is competitive (and endless fodder for frothing Reddit denizens), I appreciate when a pedal company offers a useful twist on an established formula.Warm Audio accomplishes this with the Throne of Tone. It is clearly inspired by theAnalog Man King of Tone. But it is also very obviously a nod to the Marshall Bluesbreaker, the pedal that Mike Piera used as a departure point for his KOT design. The Throne of Tone, though, might mark the point at which the snake bites its tail. It cross-pollinates the circuits in a dual overdrive that opens up many, many tone-coloring avenues and options.
Split Personality
Mike Piera ripped up a friend’s Bluesbreaker to build the first King of Tone. But by the time he rewired it, it was a different pedal altogether. To the extent that the KOT and Bluesbreaker sections are accurate in the Throne of Tone, the differences between the original Bluesbreaker and King of Tone are easy to hear. It’s hard to accurately assess the accuracy of the Throne of Tone’s two circuits without a real-deal King of Tone or Bluesbreaker at hand. But I’ve played through both as well as excellent clones, and in both sound and feel, both Throne of Tone circuits are in the ballpark and better.
In very general terms, that means the “king” side is a bit less aggressive, darker, and more dynamically responsive to changes in pick intensity—especially when you want to go from gnarly to truly clean. The “blues” side is a bit more dynamite, revved up, and lively in the midrange. It’s more immediate and a bit harder to keep on a leash for dynamic purposes. But the Throne of Tone is a great multiplier—and mixer—of these qualities, because you can experience each basic voice through the lens of high gain and low gain settings, a boost, an overdrive or a distortion. Additionally, output from each side can be modified with a presence control which appears on neither pedal in its original form. Add up the possible tone permutations and, well, you’ll probably be less occupied with the accuracy of the circuits, and more excited about harnessing the copious killer tones here.
Pick A Door
Of the three modes, the boost is the most user friendly and easy to apply to a base tone that just needs heft and body. It’s also great for demonstrating the basic duality in the king and blues voices—which align along a Marshall/Fender divide. The blues, or Marshall-like side feels considerably more compressed as a boost, but it positively rings in the high-mid zone. If you want a guitar to be boss in a mix it dishes the goods. But it’s agreeable too, and flattered PAFs, Telecaster single-coils, Wide-Range humbuckers, and a Rickenbacker 12-string—lending all of them an infectious, excited edge. Matched with an EL84 amp it can feel a touch redundant, but with 6L6 amps it shines. The king, or more Fendery side, sounds comparatively scooped. It feels much less hyperactive, and it excels in the clean, low-gain range, but it also gets squishy when you dig in.
These same qualities are very apparent in the overdrive mode. Each voice sounds more compressed than the boost mode. But the higher reaches of the gain controls yield treasure. Here again, the blues side was explosive—sounding at many settings like Malcolm and Angus Young after consuming a bag of firecrackers. Angry but fun. The king’s OD side, at high gain range, sounds much more like a mid- to late-’60s Bassman at high volume: crunchy, but softer around the edges. Each of these voices can be nudged into more savage extremes by the high-gain toggle, which depending on your amp and guitar, can be surprisingly airy to downright sizzly.
The distortion mode kicks the high-midrange in the pants, but retains much of the overdrive mode’s basic coloration. It’s an especially cool match for 6L6 amps—especially on the king side. But the way the distortion modes remain responsive to dynamic input like volume and touch variation is impressive. Distortions can often sound quite binary—either raging or gobbling up midrange oxygen. Both distortions in the Throne of Tone give you gray area to work with that can range down to chiming clean tones.
The Verdict
The original King of Tone and Bluesbreaker pedals are revered for good reason. And if Warm Audio’s take on the two circuits represents even 80 percent of those pedals’ prime tonality, you’ll still hear and feel what makes them special. As a whole, the Throne of Tone is adaptive and versatile. The kind of pedal that could save your hide and solve problems in a studio. But it could work the same magic in a live situation, especially one with a backline surprise in store. In performance, the vertically oriented mini toggles, which are situated perilously close to the bypass switches, could be a liability. I accidentally switched the gain and mode switches with my toe more than once. That’s a shame, because they make experimentation so much easier than when DIP switches are in the mix. It’s hardly a dealbreaker, though. For $229, the Throne of Tone offers a very big bucketful of tone options that can span civilized and rabid.
Attack—essentially the rate and intensity with which a note rises in volume from its point of creation—is one of the coolest musical expressions you can mess with. If you play an instrument from the violin family it’s a fundamental part of your vocabulary. It’s used frequently in synthesis to conjure spooky, low-gravity atmospherics, and it’s an essential tool for taking the front end off some psychotic Moog sound that might otherwise explode like a foghorn six inches from your ear.
Guitar players know the potential of this effect well too. Volume swells can drastically recast a guitar line—evokingreverse tape,pedal steel, and deep space. But doing it well is not easy. Even on guitars like theStratocaster that lend themselves to volume swells by design, it takes technique, practice, and usually a very flexible pinky finger to make it work right. Electro-Harmonix’s Swello, which has origins in the attack filter section of the POG2, can do a lot of that work for you. But it’s capable of more than simple swells, with the ability to generate envelope filter- and wah-like sounds, big synth-style pads that are ripe forlooping, and much stranger fare.
Swing in Smoothly
Though they can be mellowing, soft attack and volume swell effects aren’t always subtle. For many players that prize precise, immediate attack, they are anathema. Swello—especially in the sans-filter “green” mode—is great at backgrounding the effect and making it more subliminal. At the lowest attack levels, you can use Swello in a capacity similar to a compressor to soften picking irregularities. At slightly higher but still subtle settings, it imparts a beautiful legato quality to melodic lines—especially enchanting in understated or deeply ambient delay and reverb contexts. At much slower attack rates, it evokes lush pedal steel tones and remarkably natural volume pedal or cello-like effects. There’s a lot of range to explore in the attack control alone.
"Swello ’s capable of more than simple swells, with the ability to generate envelope filter- and wah-like sounds, big synth-style pads that are ripe for looping, and much stranger fare."
While the Swello’s control set is minimal, players without experience in synthesis or in using filters and envelopes with guitar may find them less than intuitive. This isn’t a shortcoming of the EHX design—it’s simply inherent to the complex interplay between filter and attack effects. If you start twisting knobs casually and with no particular intent you can end up with filter and attack combinations that make a guitar sound 30 feet underwater—if not altogether absent. So, it pays to move slowly though these controls, observe the sensitivities in their interactions and pay attention to how very small, incremental changes—as well as where you play on the fretboard—can alter the response and output. Though getting to your destination can be tricky and require patience, there are many surprises to find along the way.
Overtone Organizer
As a player that uses volume swells as both an expressive tool and crutch, I loved Swello’s very natural volume pedal and cello-like effects. But I also own a POG2 and treasure that pedal’s capacity to add -2-octave content to an upswelling tone. That can be a preposterously big sound with reverb (the low synth parts in Vangelis’ Blade Runner opening sequence and the Golden Gate Bridge foghorn at the distance of a couple miles are a couple handy points of reference). And there’s plenty of it here when you get a deep resonant peak, slow attack, and filter modulation working in sync, and hang out on the low strings.
As with the POG2, boosting the high frequencies can make the pedal sound less organic—and at times even a bit cloying. Some settings also introduce digital artifacts, most noticeable in the quackier, mid-forward envelope filter-style tones. These sounds can be fun, but they’re not the Swello’s strong suit (and may disappoint players that demand vintage Mu-Tron authenticity from envelope filters). That said, there are plenty of ways to use high-frequency emphasis for pleasant coloration and to shape the attack, and at many such settings the output is largely free of digital aftertaste.
The Verdict
Swello, as the name suggests, specializes in very cello-like volume swells that sound organic, and enable you to keep your fingers on the strings and your feet away from expression pedals. At less than $150, it’s a great value for the slow-attack effects alone. However, players who explore its compression-like dynamics and the vast, unconventional tones found at atypical filter frequency and modulation settings will discover that the Swello is far more than it appears—truly greater than the sum of its parts.
On November 14, 2025, I’ll be giving a presentation at the Royal College of Music in London. It’s in conjunction with a unique guitar they have on display: Kurt Cobain’s 1959 Martin D-18E, the one he played on MTV Unplugged. To honor the occasion, we’ve built a modern reproduction of that particular guitar for my friend Craig Thatcher to play at the event—because I don’t think they’ll let him play the original. (Yes, that one … the guitar that sold for $6 million at auction in 2020.)
MTV Unplugged: What a good idea that was! And talk about good timing. The 1980s were not a good time to be in the acoustic guitar business. My dad joined the family business in 1955, the year I was born. The mid-’50s were the era of the folk revival. Acoustic music was taking hold in coffeehouses and on college campuses. Thanks to bands like the Kingston Trio, folk music was becoming pop music.
By the early ’60s, demand for Martin guitars outstripped the capacity of our old factory on 10 West North Street in Nazareth, Pennsylvania. My dad convinced my grandfather that we needed a new factory to keep up with the boom. So in 1964 we opened the new plant at 510 Sycamore Street. What else happened in 1964? The British Invasion.
Yes, Bob Dylan went electric, but the acoustic guitar remained a mainstay on many folk-rock songs. Crosby, Stills, Nash & Young and others drove demand skyward. We couldn’t keep up. These were good times. Politics, the Vietnam War, and the fight for civil rights … it all gave the younger generation reasons to speak out and speak up, and the acoustic guitar became an integral part of that messaging.
By the late 1970s, music was changing. Disco was taking over. The Eagles were the last significant folk-rock supergroup. By the 1980s, it was tough going for acoustic guitars. Several of our smaller competitors closed their shops. Pointy electric guitars were flying off the shelves, thanks to hair metal. The Yamaha DX7 and other digital keyboards were everywhere.
“By the end of the 1990s, our production had increased fivefold compared to the start of the decade.”
Our business struggled. My dad retired and moved to Florida. I had just graduated from college and joined the family business full-time, at a difficult moment. My grandfather passed away in 1986, and at 31, I became CEO. I was scared. My dad had encumbered the company with a crushing level of debt. We were on the verge of bankruptcy. I wasn’t sure exactly what to do, but I was determined to not allow my multi-generational family business to disappear. We cut back expenses and focused on what we did best: flat-top acoustic guitars. One of my dad’s better decisions was to acquire a string company. String sales helped us survive those lean years.
One day, my friend and colleague Dick Boak walked into my office. “I got a call from MTV,” he said. “MTV? The rock video station?” I inquired. “Yes,” he replied. “Why did they call us?” I asked. “They have this idea,” Dick said. “They want to get rockers into the studio and have them play their famous songs on acoustic guitars.” Hmmm. Not a bad idea.
“Why did they call us?” “They weren’t sure if the rockers they were going to ask even had acoustic guitars,” he said. “And they’re going to film some shows in New York. Could they borrow some guitars from us if needed?” I looked at Dick and smiled. He took that as a “yes.”
MTV Unplugged launched in 1989. It started slowly. Initially, few people noticed. But it built momentum. In 1992, Eric Clapton recorded his Unplugged segment at Bray Studios in London, playing his 000-42 Martin. The subsequent album became a phenomenon, garnering multiple Grammys, selling millions of copies, and becoming the best-selling live album of all time.
In 1993, Nirvana performed one of Kurt Cobain’s last televised sets. After his death, MTV Unplugged in New York was released. It sold over 5 million copies and won a Grammy for Best Alternative Music Performance. As the momentum grew, our phones started to ring. And ring. Players were rediscovering how cool it is to hold a wooden box against their body and feel it vibrate as they played their favorite songs. The acoustic guitar was back. Thank you, MTV Unplugged. (Fun fact: Many of the guitars played on MTV Unplugged were actually plugged in!)
What started as a simple TV concept helped usher in a full-fledged acoustic revival. For Martin, it arrived just when we needed it most. By the end of the 1990s, our production had increased fivefold compared to the start of the decade. Sometimes, all it takes is a well-timed idea and a few beautifully-built guitars.
If there’s any company you’d expect to understand the delicate relationship between pickups and pedals, it’s Seymour Duncan. The company’s Pickup Booster Mini, an evolution of the Pickup Booster that’s been around for roughly two decades, certainly reflects a less-is-more philosophy about what you should stick between a good pickup and your amplifier. But while the Pickup Booster is simple, it’s far from inflexible, nor, in most cases, does it sound very “mini.”
Friend to the Single Coil
The Pickup Booster Mini’s versatility is most evident in its resonance control. These shifts are clear when you use the pedal with single coil pickups at the front of a pedal chain—in fact, the resonance switch works onlywhen the Pickup Booster Mini is the first stomp in a line. The differences between settings are also apparent when used with a clean amp. So yes, Fender-oriented players, with their single coils and high-headroom amps, get a fatter share of the fun when using the Pickup Booster Mini, as well as a greater sense of the pedal’s transformative power.
For all its single-coil bias, the Pickup Booster Mini is still a good buddy to humbuckers.
I tested the Pickup Booster Mini’s interaction with different pickups using two contrasting rigs—first between a Fender Jaguar and black-panel Deluxe Reverb, then an SG and the Marshall 18-watt setting on a Carr Bel-Ray. To widen the stylistic disparity between these surfy- and AC/DC-sounding setups, I deliberately set up the Jaguar/Deluxe tandem for fairly anemic output, with the amp volume just past 2. Without the Pickup Booster Mini the combination was thin and lifeless. With an assist from the pedal, the previously absent low- and low-midrange became quite prominent—and not in a fashion that just added mud to the equation. Instead, it lent sustain and a warm, discernible glow to overtones while maintaining the Jaguar/Deluxe combination’s sunny essence. Could I have generated the same tone by turning the amp volume up, the guitar down, and adding some bass? Not easily with the Jaguar’s 1k pots. But even a Telecaster with a finely tapered volume control couldn’t always match the low-mid punch the Pickup Booster Mini added at lower amp volumes.
For all its single-coil bias, the Pickup Booster Mini is still a good buddy to humbuckers. In the more AC/DC-like SG/Carr set up, the Pickup Booster Mini worked best as a lead boost. And in terms of creating bolder tone contrasts, I had good luck with the pedal’s resonant peak 2 setting which, while ostensibly ideal for making single coils sound like high-gain humbuckers, can lend an almost cocked-wah like focus to leads.
You don’t have to use the Pickup Booster Mini at the front end of a pedal chain. Its buffer also means you can use it at the end of long cable runs to make up for the associated tone loss. You lose the flexibility of the resonance switch, but it still sounds fantastic and can work as an almost compression-like glue to meld overtones and artifacts from delay, reverb, and modulation units.
The Verdict
If, like me, you’re always looking for ways to shrink your pedalboard, the Pickup Booster Mini makes an appealing ingredient in a compact setup. Though it doesn’t excite the treble spectrum quite as much as some boosts and overdrives, it restores the fullness often lost when using single-coil pickups at low amp volumes, making it a simple, cost-effective cure for one of many performer’s most common challenges.