The PG Dawner Prince Pulse review.
Deep, thick, luxurious rotary simulations—particularly in stereo. Super intuitive and easy to use.
Side mounted output gain pots are useful but awkward to access.
$339
Dawner Prince Pulse
dawnerprince.com
When you think about David Gilmour's guitar sounds, you tend to think of big Hiwatts, creamy Big Muff or blazing Fuzz Face tones, and Echorec delays bouncing infinitely off the columns of Roman amphitheaters.
But modulation has always been an equally foundational part of Gilmour's outsized sound picture. And while he's probably most famously associated with the Electro-Harmonix Electric Mistress when it comes to signal wobbling, he has embraced rotary speakers regularly since 1969. For much of his career, Gilmour used Leslie 147s or Yamaha RA-200s in this role. But at some point, he started to work with the Maestro Rover—an unusual stand-mounted rotating speaker that his technicians would use as inspiration for his more powerful, custom Doppola units. By the mid '90s—a period that looms large for Gilmour tone hounds of a certain breed—the Maestro and Doppolas were elemental parts of his sound.
Recorded with Squier HH Jaguar, Fender black panel Tremoloux head through Universal Audio OX using Fender Tweed 12" cabinet emulation.
First segment moves from slowest rate to fastest, uses closest possible mic' proximity setting, and wet/dry mix at noon.
:43 - Moves from slow speed at 10 0'clock to fast rate at 2 o'clock, uses furthest mic proximity setting, mix at maximum
1:27 - Moves from slow speed at 10 0'clock to fast rate at 2 o'clock, uses closest mic proximity setting, mix at maximum
If the name wasn't hint enough, Dawner Prince's Pulse pays homage to this sound in a loving and well-executed way. But even if you aren't out to replicate Gilmour modulation textures from The Division Bell and Pulse, this Croatian company's exceptional rotary simulator is a fine way to introduce the immersive, extra-liquid textures of a rotary speaker to your signal chain without hauling a cumbersome antique and its own team of mechanical medics.
Surprising Simplicity
With five staggered knobs, two footswitches, stereo outs and an expression input, the Pulse looks more complex than it is. In reality, it's very intuitive to use. And even superficially esoteric controls like the distance knob (which shifts the proximity of the virtual "mic" picking up the rotary speaker signal) and the inertia knob (which regulates the rate of the virtual speaker's acceleration or deceleration) have a very organic, natural feel and are simple to add and modify to taste. The more straightforward controls are satisfying to use, too. The slow and fast speed controls have great range (the modulation rate spans .4 to 8 virtual speaker rotations per second). You can toggle between fast and slow rates using the fast-slow footswitch and you don't have to worry about "progamming" a fast or slow preset—the switch simply ramps up or down (at a rate prescribed by the inertia control) between whatever speeds you've set on the respective knobs.
Dawner Prince also accounted for the possibility of perceived volume loss at some of the most intense modulation levels by mounting small gain pots adjacent to each output jack. You need a small flathead screwdriver to adjust them. Obviously, top-mounted knobs would be user friendly, but I was generally pleased with the output level at maximum modulation intensity. And on the whole, I'd venture that Dawner Prince made a smart compromise between cluttering the main control panel and concealing these pots inside the enclosure.
Worlds of Whirl
If you had to briefly characterize what sets the Pulse apart from lesser rotary simulators, it would be the deep and real sense of motion that pedal communicates. This quality is especially apparent if you take time to set it up for stereo output, which I did through two amplifiers as well as a DAW.
The Pulse's output very effectively replicates the complex interactions between fundamentals and overtones that occur when moving air and speakers are added to a tone equation.
These highly kinetic qualities don't just come from bouncy stereo pictures, however. Even in mono, the Pulse's output very effectively replicates the complex interactions between fundamentals and overtones that occur when moving air and speakers are added to a tone equation. At the right settings, you can almost see and feel the rise, dissipation, and passing of sound as bodies and particles (entirely without pharmaceutical assistance, I might add). It's a very visceral way to experience a guitar sound, and it comes pretty close to the thrill of parking your head right by a rotary speaker in motion.
The harmonic complexities and kinetic sensations generated by the Pulse are best enjoyed, at least to my ear, at slower settings where it's easier to perceive the bloom of these sounds. And even though the Pulse's fast modulation settings generate very rich, throbbing pulses, I preferred to keep my fastest modulation sounds on the slower side so I could bask in the dimensionality of the sound picture.
The Pulse also excels at walking the fine line between the practical and the ridiculous. Even the most modulation-heavy mix settings are never overbearing. And while you can generate relatively extreme metallic high-mid peaks in the modulation by bringing the virtual mic proximity in close and cranking the mix, these sounds still have a full-spectrum richness and help the Pulse achieve some of the funkier sounds you hear from Leslies and Fender Vibratones.
The very-well-made Pulse is also super quiet, by the way. I wouldn't hesitate to try it on other instruments or vocals in a mix situation.
The Verdict
If you're chasing realistic rotary speaker tones in a stompbox, the Pulse will likely pay back the extra money you'll spend. The sense of real mechanical motion and dimensionality is perceptibly stronger than a lot of digital rotary simulations I've played. And while the Doppola/Rover-based tone emphasis does give the Pulse a unique voice, it rivals the best high-end Leslie emulators I've encountered in terms of realism and atmosphere.
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Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
The Future Impact V4 is an incredibly versatile pedal with an exceptional range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.