The second day of the year's biggest gear show was full of tone toys from Orange, Seymour Duncan, Nu-X, Electro-Harmonix, and more.

Electro-Harmonix

For pedal legend Mike Matthews and Electro-Harmonix, this year NAMM meant the introduction of four new stomps: Mono Synth pedals tailored for both guitar (top right) and bass (not shown), a 3-preset-equipped reimagining of the company’s 1980s Attack Decay volume-swell effect (top middle), and a highly intuitive, 8-loop, 16-bank programmable loop-switcher called the Super Switcher that goes for $399 street.

A maze of modulation and reverberations leads down many colorful tone vortices.

Deep clanging reverb tones. Unexpected reverb/modulation combinations.

Steep learning curve for a superficially simple pedal.

$209

SolidGoldFX Ether
solidgoldfx.com

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A lot of cruel fates can befall a gig. But unless you’re a complete pedal addict or live in high-gain-only realms, doing a gig with just a reverb- and tremolo-equipped amp is not one of them. Usually a nice splash of reverb makes the lamest tone pretty okay. Add a little tremolo on top and you have to work to not be at least a little funky, surfy, or spacy. You see, reverb and modulation go together like beans and rice. That truth, it seems, extends even to maximalist expressions of that formula—like the SolidGold FX Ether.

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Megadeth founder teams up with Gibson for his first acoustic guitar in the Dave Mustaine Collection.

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The Atlas Compressor offers up an extensive library of compression options and allows for transformation into a bass specific compression machine.


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