
Toasty authentic analog tones thrive in unusual settings made possible by digital control.
Warm analog echoes that can be recast in many voices. Immersive stereo options. Cool rhythm-oriented patterns prompt unusual riffs. Beautiful design.
Expensive, even though it’s fairly priced relative to competition.
$499
Boss DM-101 Delay Machine
boss.info
When you see a pedal as bristling with as many controls as Boss’s new DM-101, you can usually assume it’s digital. But the DM-101 Delay Machine is a true analog, bucket-brigade delay. Its functionality just happens to be enhanced by a digital brain. This combination enables familiar conveniences, like presets and tap tempo. But clever application of digital control also makes it possible to reshape the DM-101’s voice by adding or subtracting active BBDs or routing individual BBDs and their feedback loops to different points in a stereo image. The resulting palette of possible sounds is impressive and often addictive.
Echos Spanning Ages
Outwardly, the DM-101 is an homage to their first analog delay, the DM-1. And Boss did a favor for vintage-oriented stompbox aesthetes by designing the Delay Machine around Boss’s beautiful 1970s enclosure shape. But the old-school styling has practical benefits, too. The functions are clearly labeled, and the knobs are spaced so you can manipulate the controls in real time much more effectively. It’s a pleasure to use on a desktop, which extends its usefulness to the realm of production, mixing, and doing double-duty with keyboards and other table-top instruments.
The controls themselves are largely straightforward. There is a 3-knob section that governs delay time, repeats (called intensity here), and an echo volume or wet/dry mix. The opposite side of the unit features two knobs for modulation depth and rate, as well as a variation knob that regulates a secondary function specific to each of the DM-101’s 12 voices. The voices include six modes for mono applications and another six for use in stereo mode. The six mono voices offer a lot of variety, including a DM-2-inspired mode, another that approximates the sound of multi-head tape delays, and a modern mode that sparkles with extra high end. Players that don’t use stereo rigs—and it’s safe to say they are a majority—may be a little puzzled by the decision to dedicate half of the voices to stereo function. But they still offer different, if less complex, textures in mono that are worth exploring.
“The stereo modes serve as thickening agents of a sort, adding animation and dimension on top of the extra girth provided by any two-amp setup.”
The remaining controls and functions are similarly simple to navigate. The tap division control offers nine modes ranging from dotted half-note settings to eighth-note triplets. A second push button saves the four onboard presets (expandable to 127 via MIDI), while an adjacent set of lights indicates the preset number or, in multi-head mode, the pattern of selected heads.
The Delay Is in the Details
Differences between the DM-101’s voices are easy to hear, though at first the variations may seem subtle. The classic mode offers up to 1200 ms of delay, using more of the DM-101’s eight available BBDs, which might ordinarily cause some degradation in fidelity. Here the repeats are relatively warm. Though equivalent delay times in the vintage DM-2 mode, which tops out at 300 ms and presumably uses fewer BBDs in the delay chain, do sound slightly thicker, richer, and a bit darker. The modern mode, which has a maximum of 840 ms of available delay, is much brighter, lending some of the snap and cut of a digital delay. In all three of the modes, the variation knob changes the shape of the waveforms that make up the modulation. The multi-head setting offers abundant creative vectors thanks to the many rhythmic patterns the mode generates and the compositional and riff-writing moves it provokes. Non-linear and ambience modes, meanwhile, toy with the possibilities of shorter delay times.
The stereo modes work best, of course, when you give them room to breathe, meaning slow, spacious, and airy chord progressions and quick percussive stabs. Even if you don’t incorporate these techniques, though, all of the stereo modes serve as thickening agents, adding animation and dimension on top of the extra girth provided by any two-amp setup. But of the stereo modes, dual mod and pan offer the boldest stereo effects. The former generates a liquid, woozy, submarine texture that would sound fantastic recorded in stereo, while the pan sounds delectable and alive in even the most intimate spaces.
The Verdict
At $499, the DM-101 is a big-ticket item. There is no doubt that the analog design lends warmth to these echoes in the same way any great BBD-based circuit does. And when you consider other analog delays with enhanced digital control, the EHX Deluxe Memory Man 1100-TT, for instance, the DM-101’s price does not seem outlandish. Whether you can make the most of the investment may depend on the extent to which you use the more unusual modes, the degree to which you utilize the stereo features, and how they fit your playing style.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!