See what PG readers are stomping on!

"Jonno Wilson's current pedalboard is mainly use for church, as well as creating soundscapes, and, ""pretty much any style I feel like mucking about with in my home studio."" The board is a Pedaltrain Pro powered by a Cioks DC10. The signal chain is a Boss TU-2 Tuner, Rothwell Audio Love Squeeze compressor, Fulltone MDV-2 Mini DejaVibe, Morley Mark Tremonti Wah, Catalinbread Galileo overdrive/treble boost, Creation Audio Labs MK 4.23 boost, Ernie Ball Volume, MXR EVH Phase 90, Cusack Tap-A-Whirl, Retro-Sonic Chorus, Strymon Lex, Eventide PitchFactor (not currently patched in), Eventide TimeFactor, and Eventide Space. The blue stomp in the middle is a JHV3 Master Tap Pro 1:3 out tap tempo feeding the TimeFactor and the Tap-A-Whirl, the red three-footswitch pedal is a JHV3 3-Aux switch to use with the PitchFactor. He says, ""Patch leads are rubbish and next on my list to upgrade. Considering changing all this to a pedalboard switching system using Musicom Lab EFX MkIII for the brain, or a full blown RJM Music Effect Gizmo/Mastermind GT system...hmmmm GAS anyone?"""

Almost six decades after forming the short-lived Rising Sons, the two legends reconvene to pay tribute to the classic blues duo of Sonny Terry and Brownie McGhee on the warm and rootsy Get on Board.

Deep into Taj Mahal and Ry Cooder’s Get on Board: The Songs of Sonny Terry & Brownie McGhee, percussionist Joachim Cooder lays out, letting the two elder musicians can take a pass through “Pawn Shop Blues.” To start, they loosely play around with the song’s intro on their acoustic guitars. “Yeah, nice,” remarks Mahal off-handedly in his distinctive rasp—present since he was a young man but, at 79, he’s aged into it—and Cooder lightly chuckles. They hit the turnaround and settle into a slow, loping tempo. It’s a casual and informal affair—some notes buzz, and it sounds like one of them is stomping his foot intermittently. Except for Cooder’s slide choruses, neither guitar plays a rhythm or lead role. They simply converse.

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The emotional wallop of the acoustic guitar sometimes flies under the radar. Even if you mostly play electric, here are some things to consider about unplugging.

I have a love-hate relationship with acoustic guitars. My infatuation with the 6-string really blasted off with the Ventures. That’s the sound I wanted, and the way to get it was powered by electricity. Before I’d even held a guitar, I knew I wanted a Mosrite, which I was sure was made of fiberglass like the surfboards the Beach Boys, Surfaris, and the Challengers rode in their off time. Bristling with space-age switchgear and chrome-plated hardware, those solidbody hotrod guitars were the fighter jets of my musical dreams. I didn’t even know what those old-timey round-hole guitars were called. As the singing cowboys Roy Rogers and Gene Autrey strummed off into the sunset, the pace of technology pushed the look and sound of the electric guitar (and bass) into the limelight and into my heart. Imagine my disappointment when I had to begin my guitar tutelage on a rented Gibson “student” acoustic. At least it sort of looked like the ones the Beatles occasionally played. Even so, I couldn’t wait to trade it in.

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Need an affordable distortion pedal? Look no further.

We live in the golden age of boutique pedals that are loaded with advanced features—many of which were nearly unthinkable a decade or so ago. But there’s something that will always be valuable about a rock-solid dirt box that won’t break your wallet. Here’s a collection of old classics and newly designed stomps that cost less than an average concert ticket.

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