Get inside the sounds of one of the most revered slide players on the planet as he goes deep on lap steels, his philosophy on tone, and his mythical Dumbles.
PG Contributor Tom Butwin dives into three standout baritone guitars, each with its own approach to low-end power and playability. From PRS, Reverend, and Airline, these guitars offer different scale lengths, pickup configurations, and unique tonal options. Which one fits your style best? Watch and find out!
Reverend Descent W Baritone Electric Guitar - Transparent White
Brickhouse Toneworks BH-90 pickups offer the legendary tone of a classic P-90 in a humbucker-sized package, with zero hum.
Brickhouse Toneworks, a new manufacturer of high-quality and innovative guitar pickups, has announced the release of the BH-90 pickup. This hum-canceling design offers the legendary tone and responsiveness of a classic P-90 in a humbucker-sized package -- with absolutely zero hum.
The BH-90 captures the true personality of the beloved single coil P-90 tone – its grit, sparkle, and touch sensitivity to playing dynamics – while eliminating the notorious hum that often limits their use.
Available individually or as matched sets, these pickups effortlessly respond to your playing touch, delivering delicate cleans to aggressive distortion. You’ll get P-90 soul in a humbucker size: the BH-90 seamlessly replaces existing humbuckers with no modifications required. They drop right in where your existing humbuckers live.
Key Features of the BH-90
- Cast Alnico 5 Magnets; 500k Pots & .022uf Cap recommended.
- Ultra quiet: Hum-canceling design, and lightly potted to minimize squeal.
- Classic design: vintage external braided lead wire, with output comparable to vintage '50s P-90
- Bridge: 19.5k (Average), Neck 17.5k (Average). Note: the BH-90’s DCR reading is much higher than normal single coil P-90s due to the nature of their hum-canceling design. This is a case where DCR should not be considered as a measurement of output because these are equivalent in output to a vintage P-90 that ranged in DCR readings between 7-9k.
- Made in the USA with premium quality materials.
The BH-90 street price starts at $170 each and starts at $340 per set.
For more information, please visit brickhousetone.com.
The BH90 by Brickhouse Toneworks | Pickup Demo - YouTube
Neil Young announces the love earth world tour, kicking off this summer.
Starting on June 18 in Rättvik, Sweden, the first leg of the tour travels through the EU and UK. The North American leg begins in Charlotte on August 8 before concluding in Los Angeles on September 15.
Tickets are available beginning tomorrow, February 25 via an exclusive, 48-hour presale for Neil Young Archives members. General on-sale begins Friday, February 28. Click HERE for tickets and see the full list of dates below. More dates will be added shortly.
With his band, the chrome hearts—Spooner Oldham (Farfisa organ), Micah Nelson (guitar and vocal), Corey McCormick (bass and vocal), Anthony LoGerfo (drums)—Neil Young (guitar and vocal) is bringing his music and songs, new and old, to you. Their recent single “big change” is the first introduction of what’s to come on the love earth tour.
Neil Young is proud to partner with Farm Aid (co-founded by Neil Young in 1985) to bring HOMEGROWN Concessions to this tour, leading the way to change the live music food system. HOMEGROWN Concessions brings family farm food — produced sustainably with a fair price paid to the farmer and served on compostable serviceware — to music venues.
love earth world tour dates:
Jun 18 — Rättvik, Sweden — Dalhalla
Jun 20 — Bergen, Norway — Bergenhus Fortress
Jun 22 — Copenhagen, Denmark — Tiøren
Jun 26 — Dublin, Ireland — Malahide Castle
Jun 30 — Brussels, Belgium — Brussels Palace Open Air, Palace Square
Jul 01 — Groningen, Netherlands — Drafbaan Stedpark
Jul 03 — Berlin, Germany — Waldbühne
Jul 04 — Mönchengladbach, Germany — Sparkassenpark
Jul 08 — Stuttgart, Germany — Cannstatter Wasen
Aug 8 — Charlotte, NC — PNC Music Pavilion
Aug 10 — Richmond, VA — Allianz Amphitheater at Riverfront
Aug 13 — Detroit, MI — Pine Knob Music Theatre
Aug 15 — Cleveland, OH — Blossom Music Center
Aug 17 — Toronto, ON — Budweiser Stage
Aug 21 — Gilford, NH — BankNH Pavilion
Aug 23 — New York, NY — Jones Beach
Aug 24 — Bethel, NY — Bethel Woods
Aug 27 — Chicago, IL — Northerly Island
Sep 01 — Denver, CO — Fiddler’s Green Amphitheatre
Sep 05 — George, WA — The Gorge
Sep 06 — Vancouver, BC — Deer Lake Park
Sep 10 — Bend, OR — Hayden Homes Amphitheater
Sep 12 — Mountain View, CA — Shoreline Amphitheater
Sep 15 — Los Angeles, CA — Hollywood Bowl
A digital pedal designed by Andrew Barta to replicate the dynamics and responsiveness of analog tube amplifiers. This stompbox offers preset clean, dirty, and lead tones, MIDI interface, and rugged all-metal housing.
As a staunch proponent of analog, Andrew Barta has never had the desire to venture into digital designs. The inventor of the SansAmp tube amplifier emulation technology, which debuted in 1989, Barta has remained loyal to the analog domain. That is, until now.
According to Barta, “To me, the main drawback of a digital modeler is the feel and the sound quality. It lacks dynamics and responsiveness. It sounds one-dimensional and it isn’t touch-sensitive, so the nuances of your playing style get lost. It limits your ability to change the tone by using your volume knob, picking lighter or harder. No matter how hard you hit the strings, the result is mostly the same. There’s no headroom and it doesn’t breathe. You are forced go to a different patch for a different tone. Ultimately, you have to conform to the device and play in a different way. So your artistic expression suffers. Artists have told me it’s like being in a cage. You have to wrestle harder to squeeze out the results and their fingers get really tired.
“Whatever device you’re using, be it an amp or SansAmp or modeler, it’s really a part of your instrument. Your instrument actually consists of the entire signal chain, not just the guitar. Digital is just a numeric translation and isn’t capable of preserving the individual personality of the guitar you use. The output is pretty much the same whether it’s a Fender or Gibson or Ric.”
Just as the original SansAmp was a personal mission to encapsulate tube amplifier sounds in a compact, portable pedal, Barta has long been on a quest to do the same in the digital domain. Never one to jump on a bandwagon, Barta wouldn’t “go digital” until he found a way to replicate the dynamics, responsiveness, and fluidity of its analog counterpart.
After many years, Barta “cracked the code.” This happened to coincide with the opportunity to collaborate with Marty Friedman. The result is the Marty Friedman Signature SansAmp.
An iconic guitarist who eloquently serves up enchanting and tearful melodies, as well as complicated notes that make your head spin, Marty Friedman surprisingly likes to keep his arsenal quite simple. The goal for Tech 21 was to embody his tone in a neat, compact, plug-and-play footprint. Marty’s focus is always on the music taking the spotlight rather than complex gear with distracting bells and whistles or requiring a cumbersome learning curve.
The Marty Friedman programmable Signature SansAmp comes preset with his main clean, dirty, and lead tones. Operationally similar to the SansAmp PSA 2.0, there are two modes: Performance mode to have your 3 main presets at the ready and Studio mode for up to 128 locations for custom presets.
Says Marty, “This is it! This pedal has been in the works for a long time and only an exceptional design engineer like Andrew Barta could make something with these beautiful tones so incredibly simple to use. Such bonehead easy-to-use effects haven’t been known to have world class sounds in them until now. I’m proud to put my name on the first one."
Controls include Reverb, 3-band active EQ, Drive, and Level. There’s also an adjustable Gate that dynamically and smoothly cleans up the signal, rather than cutting it off abruptly. Filteralters the tonality by manipulating the mid-range and is specifically voiced for Marty’s unique sound.
Other features include a MIDI interface to control the SansAmp externally, a chromatic tuner, an effect loop, 1/4-inch and XLR Outputs, and rugged all-metal housing and knobs. Utilizes included 9V DC auto-switching power supply with interchangeable international plugs for use anywhere in the world. Measures 7.5”l x 5.25”w x 2.0”h.
For more information, please visit tech21nyc.com.
