
Dig into the details of a pile of new gear from Steve Vai, MXR, Abasi Concepts, Dophix, b3, and more!
Taylor 722ce
Taylor Guitars brought a new pair of 700-series acoustics to the show. The new Koa-based line was born out of a particular grade of wood that sits between their K series and the wood they use for veneers. The 724ce and 722ce both feature Expression 2 preamps and an ultra-thin finish. Each one will street for $3,499.
Eventide Blackhole
Although the Dot9 line of pedals have been out for a bit, Eventide officially brought this quartet of stomps to the masses at the NAMM show. The lineup covers well-known H9 algorithms such as the Blackhole, old-school EVH-style micro pitch tones, massive chorus sounds, pristine delays, and more.
Martin Custom Guitar
Here's the 2,500,000th guitar to come through Martinās factory and built by their team. The guitar was made from birdseye Belizean rosewood and heavy Sitka spruce. Display built by Jody Betz.
Positive Grid Spark Mini
Positive Grid announced the Spark Mini, which is a full featured practice amp that also works as a Bluetooth speaker. The free app allows for deep signal-chain editing and comes loaded with a ton of amp and effects. They are taking pre-orders now at an intro price of $195.
Dreadbox Treminator
At $199, Dreadboxās Treminator goes way past trad-style trem. It offers five different wave shapes, fade in/out controls, tap tempo, and a handful of āsecretā features when you hold down one of the footswitches. Think Minus the Bear in a box.
VegaTrem VT-2
Do you love Teles and wigglesticks? VegaTrem just gave us a quick look a the VT-2, which takes there rock-solid trem technology and applies it to T-style setups. Installation isnāt invasive and the bar feels smooth as silk. Pricing is TBA, but look for them this fall.
Manhattan Prestige Basses Session One
Famed session legend Neil Jason founded a new instrument company called Manhattan Prestige Basses and brought their first model, the Session One, to NAMM. Itās an incredibly well-balanced instrument that sports an alder body, maple neck, Tusq nut, Luminay fret markers, and a Wilkinson bridge. A rock-solid workhorse that comes in at $999 street.
Imperial Electric: The Appetite
Red Witchās Ben Fulton debuted his new company, Imperial Electric, and pair of amp-in-a-box pedals that pay tribute to two seminal guitar heroes. The Zeppelin aims to capture the tone from a particularly influential MSG concert film by combining a Echoplex-style preamp with a FET-based plexi-style amp circuit. The Appetite takes aim at the sound of the Sunset Strip by combining a more modern-sounding FET-based amp circuit with a germanium boost to push it over the top. Both will street for $229 each.
GTRS S800
The S800 from GTRS is powered by Mooerās robust modeling technology. This S-style guitar pairs with a Bluetooth foot controller (sold separately) and an app to craft nearly any kind of signal chain you can imagine. Thereās a single control knob on the guitar that allows you to cycle through presets on the fly. All for about $1,000 street.
Audient EVO16
The Audient EVO16 is a fully featured recording solution that offers 8 inputs, phantom power, multiple headphone outputs, and an inventive Smart Gain feature that makes setting levels a snap. Will hit stores soon at $499.
Pro Co Lil' Rat
The classic tone of the Rat has been shrunk into a micro-sized enclosure. It has the exact same circuitry and clipping as the original, just smaller. In order to save space they took out the battery option, but it still sounds as gnarly as ever. And quite a deal at $79.
Blackstar St. James
Blackstar spent the last two years developing a new line of ultra-powerful and ultra-light amps. The St James series offers two different setups (6L6 and EL84) that include a full 3-band EQ, dual channels, reverb, reactive load options, and deep editing via an app. Heads are $1,199, combos are $1,299, and the 2x12 can is $749.
Martin D-28 Rich Robinson Guitar
Martin just released a new signature model from Rich Robinson that was patterned after his dadās ā50s model. It has rosewood back and sides, a chunky neck, Sitka spruce too, and is the first artist model that's aged to replicate the original. It will street for $6,999 and be out in late summer.
Ernie Ball Music Man Tosin Abasi Kaizen
Futuristic shredder Tosin Abasi just announced a new collaboration with Ernie Ball Music Man. The Kaizen is an immaculately designed 7-string that sports a mini humbucker in the neck, Steinberger tuners, a multiscale neck with floating trem, and much more. Should be out in late summer with a price TBA.
Steve Vai Hydra
One of the most incredible creations at this yearās show was Steve Vaiās Ibanez Hydra. It was prominently featured on Vaiās last album and the up-close details are amazing.
Tom Quayle SignatureĀ
Ibanez and fusion stylist Tom Quayle extended their partnership with a singlecut signature model that's loaded with a Seymour Duncan mini-humbucker in the neck and an Alnico Pro II in the bridge.
Abasi Concepts emiāĀ Series
Abasi Concepts just launched their emi series which includes options for standard fret spacing, SSS and HSS pickup configurations and much more. Keep an eye on their website as these will be released in batches through their mailing list.
Dophix Michelangelo Overdrive Plus
Italian pedal maker Dophix showed us their entire line and these two were the standouts. The Michelangelo Overdrive Plus is a fully featured boost/OD combo that houses three different clipping modes (FET, silicon, and germanium), a blend control, and switchable effect order. The Galileo Optical Tremolo can go from swirly, comforting waves to stuttering noisemaking fuel. Each will be available for $399 street.
b3 Guitars Telstar
Gene Baker and b3 Guitars brought their mashed-up Telstar to the show. It pays obvious tribute to a pair of classic models, but this one features a 10(!)-way switch, Lollar pickups, a double graphite reinforced bolt-on neck, and a MannMade hybrid tremolo. They will be exclusively sold through The Music Emporium and will start at $5,200.
Gamechanger Audio Bigsby Pedal
Gamechanger Audio's new collaboration with Fender has resulted in a digital version of a seminal tremolo. The Bigsby pedal allows for both upward and downward polyphonic pitch bending in addition to adjusting the rate of the vibrato. It feels smooth and natural and makes the more extreme Bigsby moves much easier. It's available now for $379.
Black Volt Amplification Earthcaster
Typically, Black Volt Amplification is known for their line of rustic amps, but this year they brought a few new guitars. The Earthcaster and Lightning Bolt are T-style guitars that are built out of old-growth wood. Depending on what the custom is looking for there are various customizable options that can be included. The Earthcaster starts at $3,200 and the Lightning Bolt starts at $4,200.
MXR and Third Man Hardware Double Down
The latest pedal collab from Jack White's Third Man Records is the Double Down. Inside, there are two of MXR's Micro Amp circuits in a single box. It has dual outputs with phase and buffer switches on the side. Should be out later this year.
Thereās so much more that goes into building a pedalābut you do need to get your workstation in order first.
Think that price tag on that pedal is a bit high? Thereās a lot more that goes into it than just whatās in the box.
The inspiration for this topic comes from a recent video published by JHS Pedals. The video consists of Josh Scott giving an honest breakdown and rebuttal to a video posted to YouTube by John Nathan Cordy. In Cordyās clip, he disassembles a JHS pedal while asking if the general consumer is getting āripped offā because the cost of the parts isnāt very exorbitant. (Cordy later issued an apology.) Iāve often lived by the motto, āYouāre not paying for the parts; youāre paying for how theyāre put together.ā So, what goes into making a pedal, and are they overpriced? Thereās a lot to cover, so letās dig in.
It can be easy for a consumer to get bogged down by the cost of the end product in relation to the value of raw materials. This is made even more evident given that we have access to the value of the raw materials. A quick web search for a Fuzz Face schematic, followed by some research on where to purchase those components, along with their value, might leave you scratching your head as to why a boutique manufacturer might be selling a Fuzz Face-style pedal for $199 and up. Iād immediately point out that your head isnāt the only thing that weāve scratched in this exampleāweāve only scratched the surface of the cost.
Letās say Iām a contractor, and you want me to put up a fence on your property, and I buy $100 worth of wood and nails and put it up in 10 hours. Is that job worth $100? No. I donāt think anyone reading this would think that. People understand costs when they go past the tangible. Weāre talking about labor. The very thing that employees are reimbursed for. Thatās still not the aspect that I think the common consumer struggles to grasp. I think that they have a disconnect when it comes to the ancillary. In this example, it would be the cost of the tools, the insurance and fuel for the work truck, and the advertising cost for the page where you found the contractor in the first place. Letās bring this back to pedals and unpack this a little bit more.
Iām going to attempt to outline bringing a pedal to life, from the inception of the idea to the selling of the final productāall while trying to expose the costs that I think people forget or simply donāt know about. I feel like a magician right now. āIām going to attempt to make 15 buses appear on this skyscraper. All while hanging upside down and blindfolded.ā Anyway, letās give it a try.
āYouāre not paying for the parts; youāre paying for how theyāre put together.ā
We know that the cost of the parts for a fuzz pedal is on the low side. Residing here in America (and for me in New England), we know that labor costs are on the higher side. But letās keep digging up and exposing those forgotten or unknown running costs. After the idea of making the product, it starts with having the space to design and work on it. That would be rent, business insurance, liability insurance if there are employees, and common utilities bills. You need a bench to work at with adequate lighting, storage for the parts, and the parts themselves. These parts are only in our possession after hours of research on which parts we want to use. This includes specs like tolerance, material construction, component size, lead pitch, voltage ratings, and so on. But letās not jump the gun. We need to order a variety of parts so that we can assemble the circuit on a breadboard, test it, make changes and additions, and record the results onto a schematic. That is, of course, after we purchase and learn how to work on a breadboard, and connect it to an instrument and amplifier. Then we need to learn how to read and write in the language that is electronics schematics. This is something that 95 percent of pedalbuilders learn on their own. So thereās no formal education cost here, but itās hours and hours of learning.
Letās say weāve made it this far and we know what we want to use in the fuzz circuit. Next, we order the parts (most likely from several suppliers and pay separate shipping costs for all). Once they arrive, we stock them in their appropriate locations. Now weāve arrived at a big step: turning what we have on the breadboard and schematic into a circuit board that mates with an enclosure. Oh, dear!
Join me for part two as I break down the next steps in this journey from idea to final productāand final price.
Thereās no disputing the influence B.B. King has had on the history of electric guitar music. Weāre talking about his sound, his best records, his guitars, his showmanship, and his collabs, from an all-star jam at the 2010 Crossroads festival to, yes, even his 1988 U2 collab, āWhen Love Comes to Town.ā
Thereās no disputing the influence B.B. King has had on the history of electric guitar music.
With Lucille in handāas well as other guitarsāhe carved out his sound by developing a signature one-of-a-kind vibrato and pick attack. His note choice, phrasing, and feel have basically become the fundamental vocabulary of electric blues. Even more than any other of his blues peers, his playing shaped blues and rock guitar. And thatās not to mention his singing.
So, on this episode of 100 Guitarists, weāre celebrating the King. Weāre talking about his sound, his best records, his guitars, his showmanship, and his collabs, from an all-star jam at the 2010 Crossroads festival to, yes, even his 1988 U2 collab, āWhen Love Comes to Town.ā
In our current listening segment, weāre talking about Brian John McBreartyās recent meditation-jazz release Remembering Repeating and Julian Lageās latest, Apple Music Nashville Sessions.
This episode is sponsored by Gibson.
Tighten up your rhythm playing by focusing on how to get a great sound, balancing your wrist and elbow, and understanding how to subdivide rhythms.
Nile Rodgers brings the rhythm at Bonnaroo 2018.
How the rhythm-playing hitmaker behind Chicāand our columnistālearned to love pop music, and why maybe you should, too.
When Nile Rodgers speaks, we should listen. His seminal work with his own band, Chic, as well as Sister Sledge, Michael Jackson, Mick Jagger, Eric Clapton, Peter Gabriel, Madonna, David Bowie, and Daft Punk, has made him a legend. He also filmed an entertaining Rig Rundown with PG just last year.
I recently listened to his 2017 South by Southwest address, where he told a story about a formative moment in his life. Nile was complaining to his guitar teacher, Ted Dunbar, about having to sing the Archiesā āSugar, Sugarāat an upcoming cover band gig. Dunbar replied, āLet me tell you something. Any song that sells and gets to the Top 40 ... is a great composition.ā Rodgers was skeptical. Then Dunbar added, āEspecially āSugar, Sugar.ā That has been No. 1 for four or five weeks.ā Next, Dunbar said something that changed Rodgerās life. āāSugar, Sugarā was successful,ā he said, ābecause it speaks to the souls of a million strangers.ā Rodgers noted: āTwo weeks later, I wrote a song called āEverybody Dance.āā Released in 1977, it was a Top 40 single on Chic's first album.
In a BBC This Cultural Life interview, Rodgers said that Dunbar ādescribed an artist to me. I wasnāt an artist until he defined that. I wanted to speak to the souls of a million strangers, but I thought what I wanted to do was speak to some real cool people hanging out in jazz clubs.ā
āEverybody Danceā and āSugar, Sugarāboth have hypnotizingly simple lyrics you inevitably replay in your head. Humans like chants, cheers, slogans, and catchy choruses. Rodgers' success came, at least in part, from opening himself up to simplicity that appeals to the masses instead of the complexity that appeals to jazzers. Thatās the irony. Jazz, which ostensibly is all about freedom, is often restrictive. Like the old joke goes, jazzers play millions of chords for four people. Pop, rock, and country artists play four chords for millions of people.
Rodgers said, āThat's what my teacher taught me, that anti-snobbery. Be open. Love all the music you are around, or at least try and appreciate what that artist is trying to say. Try and have, what we call in the music business, big ears.ā
My friends and I have all, at times, been music snobs. I went through a blues binge in my youth where I was prejudiced against shredders. This was not uncommon at the time. After Nirvana hit with Nevermind in 1991, suddenly musicians were openly mocked for playing complex, difficult parts. It was almost like if you cared enough to really learn to play guitar, you were uncool. That was a big relief for me, as I could play neither complex nor difficult parts at the time.
āTaylor Swift is the Beatles of my daughterās generation.ā
Later, when I moved to Nashville, I was all about clean Telecasters and thought ill of music with lots of dirt or effects. Younger me would have plenty of condescending quips about my current love of overdriven humbuckers and delay. Most of my snobbery was driven by my deep insecurities, but part of it was tribalism. The heart wants what it wants; when you find your musical tribe, most of the young zealots trade all others for their one true religion. It might be the only way to get good at something.
On the other hand, my friends and I listen to a variety of music, but the common factor is it usually involves good guitar playing. We love what we love because it speaks to our souls. But most guitar players are drawn to those who are doing what we wish we could do. My uncle Fred used to say, āThereās nothing wrong with being a snob. It just means that you have good taste.ā
Between club dates, sessions, and the occasional TV gig, I play with tons of people. I have no say in the set list, so āSugar, Sugarā moments are unavoidable. I used to feel deep shame playing those types of songs, like it reflects poorly on my personal taste or abilities. In short, I was prejudiced until I saw all of the true pros who could find something beautiful, challenging in the seemingly mundane. Itās like the old actorās adage: There are no small parts, just small players.
According to Forbes, Taylor Swift was āThe Biggest Artist in the World in 2023.ā That being the case, her songs inevitably come up on cover gigs. When this happens, some musicians might groan, like it makes them cool to hate on pop culture. But thatās probably because they don't really know her work. Taylor Swift is my 8-year-old daughterās Alexa go-to, so I know Taylorās catalog really well. Turns out, itās amazing, full of truly catchy, engaging, touching songs. Taylor Swift is the Beatles of my daughterās generation. Snobs will think that statement is heresy, but snobs often donāt know what they are talking about, and they never have as much fun as the people who are dancing violently to āShake It Off,ā or singing with eyes closed to āAll Too Well.ā