PG's Joe Coffey is On Location at the 2010 LA Amp Show where we get to check out BC Audio. In this segment, we get to check out BC Audio's newest amplifier--Amplifier No. 8. The No. 8, is a class A, single-channel, 25-watter loaded with a 5AR4/GZ34 rectifier, two 5881 power tubes and two 6SL7 octal preamp tubes. The head is available in a vintage green ammo can or a standard cab box in black and red.
PG's Joe Coffey is On Location at the 2010 LA Amp Show where we get to check out BC Audio. In this segment, we get to check out BC Audio's newest amplifier--Amplifier No. 8. The No. 8, is a class A, single-channel, 25-watter loaded with a 5AR4/GZ34 rectifier, two 5881 power tubes and two 6SL7 octal preamp tubes. The head is available in a vintage green ammo can or a standard cab box in black and red.
Oniās guitar duo cover 16 strings between them with a pair of Neural Quad Cortexes and some choice patches.
Jared Dines had been writing for Canadian metalcore outfit Oniāfronted by Jake Oniāfor a few years before Jake invited Dines to join him onstage. Dines had just two days to learn the entire set before rehearsals began. But Eric Palmer can one-up him. He was teching for the band when Jake conscripted himāwith just one day to pick up the set before a performance. Palmer rose to the occasion, and he and Dines have formed Oniās two-guitar tornado for the past year.
Ahead of their gig at Nashvilleās Brooklyn Bowl in December, Dines and Palmer walked PGās Chris Kies through their spartan, one-guitar rigsāno backups, no mercy.
Brought to you by DāAddario.8 is Great
Eric Palmer is used to playing 7-string axes, so this limited-run 8-string Jackson Concept Series MDK8 HT8 MS Modern Dinky didnāt take long to get used to. The Korea-made flamethrower has a basswood body, a 3-piece maple/wenge/mapleneck, and a compound radius ebony fretboard (12" to 16"). It also boasts a dual scale lengthā25.5" to 27.5"āand is loaded with Fishman Fluence Modern pickups, which feature two voicings selected by a push-pull switch. Palmer had this one upgraded to a 5-way switch to access split-coil sounds, and he got rid of the tone knob. āAll gas, no brakes,ā as PGās Perry Bean would say.
Petrucci Power
Jared Dines also needed an 8-string for Oni, so Ernie Ball sent him this Music Man Majesty 8, a John Petrucci signature model. Itās got Fishmanās Powerbridge piezo system, which sees action on the song āControl.ā Dines attached his own string clamp behind the nut to halt noise.
Double Quads
Dines and Palmer both rely on Neural DSP Quad Cortexes on this Oni tour. Their units are mounted on Temple Audio pedalboards, and both guitarists use the Architecture: Gojira X patch for their heavy sounds, and a Roland Jazz Chorus sound for cleans. Both Dines and Palmer employ a MIDI switching system that they pulled from Aaron Marshallās Rig Rundown, and run their signals from direct to front of house.
Taylorās all-new acoustic Gold Label Collection, developed by CEO Andy Powers, is designed to be unlike anything Taylor has ever offered.
Taylor Gold Label 814e SB
GOLD LABEL: A bold new Taylor acoustic collection.
Available in two models, each with an optional sunburst ā Gold Label 814e (natural top), Gold Label 814e SB, Gold Label 814e Koa (natural top), and Gold Label 814e Koa SB ā the collection blends traditional and modern elements in an inspiring new way and expands Taylorās musical palette to appeal to an even more diverse range of players.
The Gold Label Collection draws inspiration from classic 1930s and ā40s flat top acoustic guitars, delivering a warmer, fuller tone that blends a heritage voice with a new version of Taylor's award-winning V-Class bracing technology. The collection features several groundbreaking design elements, including the new Super Auditorium body style, a Fanned V-Class bracing pattern, and a long-tenon neck joint, all of which contribute to a richer, more resonant, more muscular sound. The collection also introduces two distinctive wood pairings: Honduran rosewood back and sides with a torrefied Sitka spruce top, producing exceptional harmonic richness, and figured Hawaiian koa coupled with torrefied Sitka spruce, delivering a more balanced, rounded tone.
Taylor Gold Label 814e
āThe harder you play, the louder the guitar gets,ā says Powers. āBut it naturally starts to compress the sound into a more controlled, focused tone rather than becoming mushy. Yet these guitars also respond to delicate articulation with a broadly rich voice. When you play a simple note softly, the guitar naturally amplifies it with surprising warmth and volume.ā
With its unique sound and aesthetic, the Gold Label Collection sits apart from Taylorās other premium lines, offering a guitar that combines the warmth and tonal character of traditional instruments with the playability and reliability Taylor is known for. The collection's craftsmanship extends beyond its sonic capabilities, with a fresh visual aesthetic that combines classic influences with modern artistry. The result is a guitar that will appeal to a broad range of players, offering a distinctive voice and performance that bring together the best of both old and new.
Whether for recording, live performance, or personal enjoyment, the Gold Label Collection provides musicians with a guitar that is as visually striking as it is sonically impressive.
In our second installment with Santa Cruz Guitar Company founder Richard Hoover, the master luthier takes PG's John Bohlinger through the detailed (and scientific) process of analyzing, shifting and "tuning" the guitar's top before repeating the process when the back and sides are joined, and once again when introducing the neck to the instrument build while focusing on keeping everything harmoniously synergized and "tuned."
Paul Reed Smith hosts a recent clinic at Chicago Music Exchange.
The best way to relate to a guitar, pedal, or amp is with your own hands, ears, and heart.
To begin with the end in mind, my hope is that when you finish reading this article, youāll feel more inspired to trust your instincts and experience the joy of trying a new piece of gear for yourself.
When I reflect on the days before the internet (and yes, Iām dating myself here, at 68), the way we approached buying gear was straightforward. You went to a music store, picked up guitars, amps, or pedals, and played them until you found the one that spoke to you. You may have gone to the store because you saw a guitarist you trusted using a brand and model of guitar or an ad that piqued your curiosity about an instrument, but the final decision was usually based on your own hands-on experience.
While todayās world offers an incredible wealth of information online, it can sometimes overshadow the most valuable resource we have as musicians: our own senses. Reviews, videos, and forum discussions can be helpful tools, but they can never replace the clarity and confidence that come from playing a guitar and hearing how it sounds in your own hands and through an amp.
Iāve often seen how powerful this firsthand experience can be. At clinics, I spend a lot of time encouraging players to trust their own ears and instincts. Recently, I was at a store where 15 Silver Skys were hanging on the wall, yet none of the salespeople or customers had plugged one in. When we finally pulled them down and played them, the reaction was incredible. People were surprised and excited by what they heard and felt. Often, instruments donāt match your expectations, but thatās the magic at work.
āHereās my challenge to you: Next time youāre thinking about a new piece of gear, go to a store and try it out.ā
The truth is, a guitar, amp, or pedal canāt fully reveal its character through words on a screen. You have to feel the shape of the neck in your hands, feel the finish on the neck while youāre playing, hear the resonance of the instrument, and sense how it responds to your playing. Thatās where the connection is made. Itās not about what youāre told the ārightā answer is; itās about discovering whatās right for you.
Iāve even found that non-musicians often have the most honest reactions during a demo. They donāt have preconceived notions or decades of lore and experiences influencing their opinions about what something should sound like or be. They simply listen to what they hear in the moment and respond instinctively. Itās a beautiful reminder of how powerful and reliable our sensory experiences can be when we let those senses honestly guide us.
So, hereās my challenge to you: Next time youāre thinking about a new piece of gear, go to a store and try it out. Let yourself experience it fully. Feel how it plays, listen to its tone, and let your instincts lead the way. Even if youāve read every review and watched countless demos, give yourself the chance to make your own discovery. Another way is to do your research, order the guitar online or through a phone call to a dealer, and try the instrument at home, knowing that if you donāt like it, you can return it within a certain amount of time.
Whether youāre a seasoned player or just starting out, thereās a certain magic that comes from trusting your gut. Your experience is one of your best guides to finding gear that feels musical, inspiring, and uniquely yours. Forget what you think you know, and let the moment tell you whatās true. Often, what Iām told doesnāt match my experience when Iām trying a new piece of gear.
Pick up a guitar. Play it. And trust yourself.