
In our annual pedal report, we review 20 new devices from the labs of large and boutique builders.
Overall, they encompass the historic arc of stompbox technology from fuzz and overdrives, to loopers and samplers, to tools that warp the audio end of the space-time continuum. Click on each one to get the full review as well as audio and video demos.
DigiTech JamMan Solo HD Review
Maybe every guitaristās first pedal should be a looper. There are few more engaging ways to learn than playing along to your own ideasāor programmed rhythms, for that matter, which are a component of the new DigiTech JamMan Solo HDās makeup. Beyond practicing, though, the Solo HD facilitates creation and fuels the rush that comes from instant composition and arrangement or jamming with a very like-minded partner in a two-man band.
Click here to read the review.
Warm Audio Warm Bender Review
In his excellent videoFuzz Detective, my former Premier Guitar colleague and pedal designer Joe Gore put forth the proposition that theSola Sound Tone Bender MkII marked the birth of metal. TakeWarm Audioās Warm Bender for a spin and itās easy to hear what he means. Itās nasty and itās heavyāelectrically awake with the high-mid buzz you associate with mid-ā60s psych-punk, but supported with bottom-end ballast that can knock you flat (which may be where the metal bit comes in).
Click here to read the review.
Walrus Monumental Harmonic Stereo Tremolo Review
Among fellow psychedelic music-making chums in the ā90s, few tools were quite as essential as a Boss PN-2 Tremolo Pan. Few of us had two amplifiers with which we could make use of one. But if you could borrow an amp, you could make even the lamest riff sound mind-bending.
Click here to read the review.
MXR Layers Review
Itās unclear whether the unfortunate term āshoegazeā was coined to describe a certain English indie subcultureās proclivity for staring at pedals, or their sometimes embarrassed-at-performing demeanor. The MXR Layers will, no doubt, find favor among players that might make up this sect, as well as other ambience-oriented stylists. But it will probably leave players of all stripes staring floorward, too, at least while they learn the ropes with this addictive mashup of delay, modulation, harmonizer, and sustain effects.
Click here to read the review.
Wampler Mofetta Review
Wamplerās new Mofetta is a riff on Ibanezās MT10 Mostortion, a long-ago discontinued pedal thatās now an in-demand cult classic. If you look at online listings for the MT10, youāll see that asking prices have climbed up to $1k in extreme cases.
Click here to read the review.
Catalinbread StarCrash Fuzz Review
Although inspired by the classic Fuzz Face, this stomp brings more to the hair-growth game with wide-ranging bias and low-cut controls.
Red Panda Radius Review
Intrepid knob-tweakers can blend between ring mod and frequency shifting and shoot for the stars.
Electro-Harmonix LPB-3 Linear Power Booster and EQ Review
Descended from the first Electro-Harmonix pedal ever released, the LPB-1 Linear Power Booster, the new LPB-3 has come a long way from the simple, one-knob unit in a folded-metal enclosure that plugged straight into your amplifier. Now living in Electro-Harmonixās compact Nano chassis, the LPB-3 Linear Power Booster and EQ boasts six control knobs, two switches, and more gain than ever before.
JFX Pedals Deluxe Modulation Ensemble Review
This four-in-one effects box is a one-stop shop for Frusciante fans, but itās also loaded with classic-rock swagger.
Origin Effects Cali76 FET Review
The latest version of this popular boutique pedal adds improved metering and increased headroom for a more organic sound.
JAM Fuzz Phrase Si Review
Everyone has records and artists they indelibly associate with a specific stompbox. But if the subject is the silicon Fuzz Face, my first thought is always of David Gilmour and the Pink Floyd: Live at Pompeii film. What you hear in Live at Pompeii is probably shaped by a little studio sweetening. Even still, the fuzz you hear in āEchoesā and āCareful With That Axe, Eugeneāāwell, that is how a fuzz blaring through a wall of WEM cabinets in an ancient amphitheater should sound, like the sky shredded by the wail of banshees.
Fishman EchoBack Mini Delay Review
As someone who was primarily an acoustic guitarist for the first 16 out of 17 years that Iāve been playing, Iām relatively new to the pedal game. Thatās not saying Iām new to effectsāIāve employed a squadron of them generously on acoustic tracks in post-production, but rarely in performance. But Iām discovering that a pedalboard, particularly for my acoustic, offers the amenities and comforts of the hobbit hole I dream of architecting for myself one day in the distant future.
RJM Full English Programmable Overdrive Review
Programmability and preset storage arenāt generally concerns for the average overdrive user. But if expansive digital control for true analog drive pedals becomes commonplace, it will be because pedals like the Full English Programmable Overdrive from RJM Music Technology make it fun and musically satisfying.
Strymon BigSky MX Review
Strymon calls the BigSky MX pedal āone reverb to rule them all.ā Yep, thatās a riff on something weāve heard before, but in this case it might be hard to argue. In updating what was already one of the marketās most comprehensive and versatile reverbs, Strymon has created a reverb pedal that will take some players a lifetime to fully explore. That process is likely to be tons of fun, too.
JHS Hard Drive Review
JHS makes many great and varied overdrive stomps. Their Pack Rat is a staple on one of my boards, and I can personally attest to the quality of their builds. The new Hard Drive has been in the works since as far back as 2016, when Josh Scott and his staff were finishing off workdays by jamming on ā90s hard rock riffs.
Keeley I Get Around Review
A highly controllable, mid-priced rotary speaker simulator inspired by the Beach Boys that nails the essential character of a Leslieāin stereo.
Cusack Project 34 Selenium Rectifier Pre/Drive
The term āselenium rectifierā might be Greek to most guitarists, but if it rings a bell with any vintage-amp enthusiasts thatās likely because you pulled one of these green, sugar-cube-sized components out of your ampās tube-biasing network to replace it with a silicon diode.
Vox Real McCoy VRM-1 Review
Some pedals are more fun than others. And on the fun spectrum, a new Vox wah is like getting a bike for Christmas. Thereās gleaming chrome. It comes in a cool vinyl pouch thatās hipper than a stocking. Put the pedal on the floor and you feel the freedom of a marauding BMX delinquent off the leash, or a funk dandy cool-stepping through the hot New York City summertime. Itās musical motion. Itās one of the most stylish effects ever built. A good one will be among the coolest-sounding, too.
The author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when youāre plugged in.
Letās talk about guitar amp history. I think itās important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radiosāalthough Iāve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. Iām reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, itās clear thatās where the original Marshall JTM45 amps came from. Also, Iāve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, Iām saying weāre using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. Whatās interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out āloop.ā In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tubeāand then modelingāamplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power suppliesāincluding all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didnāt even mention the speakers or speaker cabinets and the artform behind those. But whatās most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, youāre trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. Itās daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active BartoliniĀ® pickups and preamps results in basses with the tonal flexibility that todayās players require. Donāt settle for less than a bass that delivers everything you want and need āthe look, the feel, and the sound, Tobias.
āIām thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,ā says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. āThis revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.ā
āItās amazing to see this icon of the bass world return,ā adds Andrew Ladner, Brand Manager for Epiphone and Kramer. āThese models are truly a bass playerās bass, and true to the DNA that makes Tobias world-classāthe ace up the sleeve of bass players around the globe since 1978. Todayās players can find that unique voice and feel that only Tobias can offer.ā
For more information, please visit gibson.com.
Sublime, fronted by Jakob Nowell, son of late Sublime singer Bradley Nowell, are in the studio writing and recording new songs for an upcoming full-length album. This marks their first new album since 1996.
When not performing at various festivals across North America in 2024, front man Jakob Nowell immersed himself in the Sublime catalog and found a deep sense of connection to his late father. The band is tapping into the 90s nostalgia, writing and recording the new songs with powerhouse producing duo Travis Barker and John Feldmann, in addition to working with producer Jon Joseph (BĆRNS). The first single will be released this Summer via their newly established label Sublime Recordings.
"I grew up on Sublime. ā40oz. to Freedomā changed the way I listened to music. Iām so honored to be working with the guys in Sublime. Creating music for this album has been so fun and exciting. Bradley comes through his son Jakob while writing in the studio and performing. Chills every day in the studio when he sings and play guitar. This is going to be really special." ā Travis Barker
āSublime has always been a huge influence on me and to be able work with the band has been inspirational and game changingā¦It has been a highlight of my life to work on such a seminal record with such talented people. Iām so grateful for this opportunity and to continue the legacy and keep it authentic to what they have historically done.ā ā John Feldmann
After Jakob Nowellās debut as Sublimeās new front man at Coachella 2024, he and his uncles Bud Gaugh and Eric Wilson continued the momentum of this latest chapter of the band, performing at over 20 festivals and shows across North America by the end of last year. Additional highlights from 2024 include Sublimeās late-night television debut on The Tonight Show Starring Jimmy Fallon, a 4-song set on the Howard Stern Show and the bandās first top 10 hit on alternative radio since 1997 with their single āFeel Like That,ā featuring the vocals of both Bradley Nowell and his son Jakob together.
2025 is shaping up to be an even busier year for the band, with a handful of headlining shows, high-profile festival appearances to support the release of the new album.
For more information, please visit sublimelbc.com.
Sublime 2025 Tour Dates
- April 5 ā LIV Golf Miami ā Miami, FL
- April 18 ā Red Rocks Amphitheater ā Morrison, CO
- May 3 ā Beachlife Festival ā Redondo Beach, CA
- May 16 ā Welcome To Rockville ā Daytona Beach, FL
- May 23 ā BottleRock Napa Valley ā Napa, CA
- May 25 ā Boston Calling ā Boston, MA
- June 14 ā Vans Warped Tour ā Washington, DC
- July 12 ā 89.7 The Riverās 30th Anniversary Show ā Omaha, NE
- July 20 ā Minnesota Yacht Club Festival ā Saint Paul, MN
- September 14 ā Sea.Hear.Now ā Asbury Park, NJ
- September 19 ā Shaky Knees Festival ā Atlanta, GA
A pair of Fender amps and a custom-built Baranik helped the Boston bandās guitarist come back from a broken arm.
When Brandon Hagen broke his arm a few years ago, his life changed in an instant. Heād been fronting Boston indie rock outfit Vundabar since 2013, and suddenly, he was unable to do the things heād built his life around. Recovery came, in part, in the form of a custom guitar prototype built by Mike Baranik of Baranik Guitars. Hagen deconstructed and rehabilitated his relationship to the 6-string on that instrument, an experience that led to Vundabarās sixth LP, Surgery and Pleasure, released on March 7.
On tour supporting the record, the band appeared at Grimeyās in Nashville for a performance on March 11, and PGās Chris Kies caught up with Hagen to hear about his journey and learn what tools the guitarist has brought on the road. As Hagen tells it, his setup is less about expertise and received wisdom, and more about āintuitive baby modeāāgoing with what feels and sounds good in the moment.
Brought to you by DāAddario.
An A1 B4
Hagenās No. 1 is this Baranik B4, a custom job that he received two days before leaving for tour. Hagenās arm was broken when Vundabar was playing a festival in California a couple years ago, and Baranik, a fan of the band, stopped in to see them. He offered to send a custom prototype to Hagenāwho was new to the field of boutique guitarsāand the B4 was born, borrowing from the Baranik B3 design used for Unknown Mortal Orchestraās Ruban Nielson and the Hofner 176 played by Jamie Hince of the Kills. The guitar helped Hagen fall back in love with guitar as his arm healed.
Hagen was searching for Strat-style clarity and jangle but with a hotter sound, so Baranik put in Lindy Fralin P-90s in the neck and bridge positions, plus a sliding, unpotted gold-foil pickup in the middle, wound by Baranik himself. A wheel control on the lower bout beside the traditional pickup selector switch lets Hagen blend the pickup signals without outright switching them on or off. Along with traditional master volume and tone controls, the red button beside the bridge activates a Klon clone pedal built into the back of the guitar. Hagen used a Klon on every track on the new Vundabar record, so it made sense to have one at his fingertips, letting him step away from the pedalboard and still create dramatic dynamic differences.
Hagen uses Ernie Ball Slinky strings (.011s), a step up from the .10s he used to use; he was chasing some more low end and low mids in his sound. His guitars stay in standard tuning.
Jazz From Japan
Hagen also loves this 2009 Japan-made Fender Jazzmaster ā62 Reissue JM66, which splits the difference between classic Fender chime and a darker, heavier tone.
Blending Fenders
Hagenās signal gets sent to both a Fender Hot Rod Deville and a Blues Junior. He likes to crank the Juniorās single 12" speaker for a nastier midrange.
Brandon Hagen's Board
Hagen runs from his guitar into a JHS Colour Box, which adds a bit of dirt and can be used to attenuate high or low frequencies depending on which room Vundabar is playing. From there, the signal hits a Keeley Compressor, EHX 2020 Tuner, EHX Pitch Fork, EHX Micro POG (which is always on with subtle octaves up and down to beef things up), Boss Blues Driver, Way Huge Swollen Pickle, MXR Carbon Copy (which is also always on), and a Boss DD-7āHagen loves the sound of stacked delays.