
A diminutive modulator dishes distinctive phase tones that stand out in a mix.
Distinctive, prominent phase tones that pop in a mix. Cool 6-stage voice. Small size makes it practical for less frequent phase users.
Less transparent voice may not appeal to players that quest for pristine tones.
$119
Ibanez Phaser Mini
ibanez.com
Ibanez has an unusual phase legacy. While they never built a phaser as wildly popular as MXR's Phase 90 or Electro-Harmonix's Small Stone, they issued memorable and innovative swirl devices—from the outlandish FP-777 Flying Pan to the simpler, more utilitarian PT-999, PT-909, and PT9.
Tiny dimensions aside, Ibanez's new analog Phaser Mini outwardly pays homage to the latter two pedals, which emerged from the Maxon-built "0" and "9" series pedals from the late '70s and early '80s. As on those phasers, tones are shaped by depth, feedback, and rate controls. The Mini also riffs on the PT-909's elegantly hip enclosure shape and graphics. Unlike the blue 909, the Phaser Mini is an orange-red that's closer to the PT9. (Yes, color matters on pedals that look this cool!) In a more practical deviation from tradition, the Phaser Mini also features a switch that selects 4- or 6-stage phasing—adding an extra-warpy dimension to the smooth 4-stage foundation that propelled the PT-909 and PT9.
Recorded with Fender Telecaster, black panel Fender Tremolux, Universal Audio OX, Universal Audio Apollo Twin, and Universal Audio Luna.
Red Shift and Weird Wobble
When the Phaser Mini's closet relatives the PT-909 and PT9 first appeared, the 1-knob MXR Phase 45 and Phase 90 and the 1-knob/1-switch EHX Small Stone ruled the roost. Ibanez had even built a 1-knob phaser of its own in the form of the PT-999. The appeal and design motivation behind the older 1-knob phasers is obvious. They were simple to use and build. (It's probably also safe to assume that many psychedelicized phaser users in the 1970s were ill-equipped to operate much more than a single knob.) Ibanez probably saw opportunity in a phaser offering a little extra measure of control. They might have also heard the intense colorations of Mu-Tron's Phasor III and wondered if there was a way to deliver that pedal's wiggly, wobbly potency for less dough. Whatever the motivation, the 3-knob PT-909 was soon Ibanez's flagship phaser.
Anyone who has ever listened in frustration as a phaser goes missing in a mix will love the Mini's propensity to stand out proudly via its pronounced treble peaks.
The Little Guy Speaks Up
Like the original PT-909 and PT9, the Phaser Mini doesn't offer worlds of additional control—at least not by the standards of today's super-tunable boutique phasers. But the depth, feedback, and 4/6-stage switch open up the tone palette considerably and generate aurally striking phase textures.
One of the Mini's most ear-grabbing attributes is its slightly less transparent voice. Compared to a favorite vintage Phase 90 clone, for instance, the Ibanez adds more coloration to fundamental guitar tones. It often sounds relatively bright and bigger in the bottom end compared to other analog phasers, and it can feel extra-sensitive to drive from hotter or trashier pickups like P-90s. This isn't necessarily a bad thing. These slightly overdriven shades add a compressed cohesiveness to the output. And anyone who has ever listened in frustration as a phaser goes missing in a mix will love the Mini's propensity to stand out proudly via its pronounced treble peaks. As a result, I preferred working from the cleaner baseline tone of a Telecaster and using my guitar tone and volume knobs to taste. But if you're less concerned with headroom for other effects or achieving optimum pick articulation, humbuckers and P-90s (particularly in the bridge position) can lend a thrilling, brash Band of Gypsys tonality and attitude to the Mini—particularly when you add the extra warp of the 6-stage voice. Church of Gilmour-goers will probably prefer a cleaner phase that lets more transient tones shine through. More agnostic aspiring Jonny Greenwoods, Graham Coxons, and Kevin Parkers will dig the less immaculate swirl.
The Verdict
While phase is an essential effect for heavily psychedelic players and many Hendrix and Gilmour devotees, a lot of guitarists use it as an occasional splash of bold tone color. The Phaser Mini is a practical, compact, and colorful solution for players that use the effect more occasionally. It offers a lot of characterful analog modulation flavors in a small package, including very classic, go-to textures for Floyd and funk. For those less bound by tradition, the Phaser Mini is a distinctive alternative to the most prominent phaser types and the many upmarket clones that mimic their tones.
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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
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
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).