
A smartly ergonomic and streamlined digital delay and modulation machine that walks the line between warm, familiar, and wild.
Smartly organized control set encourages intuitive, interactive performance. Nice build quality. Nice range of familiar-to-wild sounds.
Modulation depth control gets very deep, very fast.
$249
Red Witch Binary Star
redwitchpedals.com
Delays with modulation are common, but delays that do deep, varied modulation colors often live on the more complex side of the user-friendliness spectrum. Red Witch's Binary Star digital delay occupies a practical middle ground between basic modulation-enabled delays and menu-stuffed beasts that can weigh you down when you're in a fast-moving, creative mindspace. The Binary Star's design is ideal for spontaneous artists and performance thanks to a sensitive control set that offers easy access to familiar and far-out textures.
Long Ways to Weird
The Binary Star's lengthwise orientation will probably bug some board-space-obsessed players, but it facilitates creative, interactive operation and fast adjustments on the fly that wouldn't be as easy with a set of small knobs crowded into a narrower space. The aluminum alloy controls feel super-precise and substantial and are a tactile delight. They also have expansive range, which can be both tricky and a treat as you get to know the pedal.
Fender Telecaster into Delta II, black panel Fender Tremolux head, and Universal Audio OX tweed Deluxe cabinet emulation. All delay and modulation tones are from the Red Wtich Binary Star.
Some control names could be less opaque, but understanding how they workāand work togetherāquickly becomes second nature. The universe knob controls the delay time, which can range up to 1100 milliseconds depending on where you set the leftmost mini toggle. In the left toggle position, the maximum delay time sounds and feels like it's somewhere around 400 millisecondsāa comfortable spot for players used to old-school analog delays. In the right toggle position, the available delay time reaches its maximum, but this mode also changes the functionality of the replicate knob, which controls the number of repeats. In the long-delay mode, the replicate knob becomes much rangier and more sensitive. Around 12 o' clock you can toe the line between long washes of repeats and self-oscillation, and the controls are sensitive and forgiving enough that you can quickly correct for gain changes, or a more aggressive effect mix, and still maintain that perpetual verging-on-oscillation wash. Not everyone will immediately grasp the need for the long/short delay toggle, but it makes the Binary Star capable of moving from unusual ambient textures to conventional echoes quickly, with a throw of the switch and a few fast knob adjustments.
There's nothing too unconventional about the mix control, but the sensitivity, range, and smooth interactivity with the other controls makes it a varied paintbrush. You can venture into wet mix regions without feeling altogether estranged from the dynamics and nuance in your picking attack.
If you need a little something extra behind a somber, minor-key chord progression to suggest the destabilization of the time/space fabric, this is it!
The modulation controls are perhaps the most challenging facet of the pedal's performance envelope to master. Depth settings beyond the first 5-10 percent of the control's range can get very weird very fast and overpower your output with woozy, pitch-shifted colorations that can sound like five tequila shots too many. At lower mix controls, however, these high depth settings become unique sub-textures than can enliven simple parts in unexpected ways. Deep, slow modulations mixed low and tucked behind a slow chord arpeggio became a ghostly, ominous, undulating backdrop for chords and single-line melodies. If you need a little something extra behind a somber, minor-key chord progression to suggest the destabilization of the time/space fabric, this is it!
Better Seen in a Clean Machine
The Binary Star's digital repeats tend toward the clean end of things. But given the depth of textures that can be achieved with the modulation section and the wealth of overtones that can live in some of the pedal's reverberative washes, this is no bad thing. Analog-sounding echoes are possible using the right toggle in the left position (which activates a darker, filtered voice) and using a minimum of modulation, which simultaneously adds a hint of tape-wobble and gauzy mystery to the decays. In shorter delay mode, this was among my favorite settings.
The Verdict
The combination of sensitive, range-ful potentiometers and smartly ergonomic, well-tuned, interactive controls make the Binary Star a real pleasure to work and create with. For certain playersāand I count myself among this setāthe Binary Star is an ideal combination of streamlined control, warm traditional echoes, and flat-out weird ones. More control-oriented players and digital deep-divers will lament the lack of tap-tempo, presets, and expression pedal functionality. But if you're primed to move beyond simple analog and digital delay and long for a little adventure without getting lost in the digital menu weeds, the sensitive and often intoxicating Binary Star represents a sweet spot in the echo firmament.
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ā90s country superstars. So, whether you know it or not, youāve likely heard Masonās playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Masonās hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Masonās 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 ā90s country superstars. So, whether you know it or not, youāve likely heard Masonās 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 Masonās 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 āFiend,ā featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satanās 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 @ Piereās
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 PERRYās Boston hometown (see the itinerary below). For the North American trekāwhich marks the first solo shows for PERRY this yearāthe legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowesā Chris Robinson (vocals), and Stone Temple Pilotsā Robert DeLeo (bass), and Eric Kretz (drums).
āWellā¦itās time to let the music do the talkin again,ā PERRY says. āIām 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. Theyāre all busy as hell but thankfully theyāre able to carve out some time for this run. And Iām not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang āFortunate Oneā 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.ā
For the shows, the Rock and Roll Hall of Fame inductee says āthe set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad weāll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if youāve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!ā
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 authorās analog log.
Seasonal changes are tough on your acoustic. Hereās 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. Iām timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for whatās coming. Itās never too soon, and time flies. Before you know it, weāll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. Iām 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 doesnāt 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.
āThis was the worst winter ever for preventable repairs on acoustic guitars.ā
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, youāll 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 machinistās 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, youāll 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 youāre 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, youāll be empowered by knowing your instrument more intimately. Youāll understand when and why changes in tone and playability might have occurred, and youāll 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!