The veteran prog-rock hero continues his fearless forays into the future with a tubeless setup heavy on digital effects and MIDI capabilities that give him ultimate control.
Although Fripp and King Crimson will forever be known for pioneering the prog-rock movement with 1969’s In the Court of the Crimson King, his innovation on guitar technology and craft is staggering. His collaborations with Brian Eno, David Bowie, and Andy Summers are highlights of a solo career nearing 50 years. John Bohlinger went to Nashville’s Ryman Auditorium to get the details from Biff Blumfumgagnge, Fripp’s main road tech since 2005. Blumfumgagnge demoed Fripp’s gear and explained the engineering behind the alchemy.
Fripp will forever be associated with his 1957 and ’59 Les Paul Customs, the three-pickup Black Beauties he rocked with early King Crimson, as well as The Talking Heads, Blondie, and his other seminal work. Now Fripp plays a highly modified Fernandes LP-style goldtop. The Fernandes features a Seymour Duncan in the bridge and Sustainer in the neck. Fripp is the inventor of the New Standard Tuning, which is C–G–D–A–E–G. To facilitate that tuning he strings up with D’Addario Nickel-Wound XL strings (.009-.054).
The controls on Fripp’s Fernandes require a closer look. Let’s start with the knobs. There’s a single volume knob and a push/push tone knob that switches between the guitar signal and the 13-pin output. A small black knob controls the volume of the synth. The remaining toggle switches control everything from a fat switch on Fripp’s GR-1, to the harmonic mode of the Sustainer, to scrolling through program changes.
Fripp uses light triangular picks that are custom made for him by friends in Japan.
Since Fripp doesn’t use traditional amps in his rig these Fractal Audio Axe-Fx II XLs are where his core sound comes from. The bottom one is his main one and the top one serves as a backup, which thankfully has never been used during a show. Fripp is quite adept at using the Axe-Edit software, so he programs all of the sounds himself.
Inside Fripp’s rack sits a pile of modulation and routing boxes. From the top we have a pair of Eventide H3500 Ultra-Harmonizers, then an Eventide Eclipse, a TerraTec AXON AX 100 MkII, a Tascam LM-8ST Rack Mixer, and a Sound Sculpture Switchblade GL switching system. How does all this work together? More on that in a bit.
Out front, Fripp has a semi-circle of pedal and controllers that he uses throughout the show. This Rocktron MIDI Raider allows him to move between patches, control loops, and go down a million other sonic paths during the course of the show.
One of the few “normal” pedals in Fripp’s rig is this DigiTech Whammy II, which is placed in line right before the Axe-Fx II XL.
At the bottom of Fripp’s rack sits a pair of Eventide H8000 units that are used mainly for looping. At any time, Fripp could have several loops going with one loop aimed at the front of the audience and another at the back. Since the band’s FOH is a quad mix these loops interact differently depending on where you are sitting.
So how does all of this fit together? Well, after you watch the video check out this in-depth diagram from Biff on how the signal path snakes through this immense, but fairly straight-forward setup.
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D'Addario XT Strings:https://www.daddario.com/XTRR
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).
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
Belltone Guitars has partnered Brickhouse Toneworks to create a one-of-a-kind, truly noiseless Strat/Tele-tone pickup in a standard Filter’Tron size format: the Single-Bell pickup.
The Single-Bell by Brickhouse Toneworks delivers bonafide single-coil Strat and Tele tones with the power of a P-90 and no 60-cycle hum. Unlike typical stacked hum-cancelling designs, Brickhouse Toneworks uses a proprietary ‘sidewind’ approach that cancels the 60-cycle hum without sacrificing any of the dynamics or top-end sparkle of a Fender-style single coil.
Get the best of both worlds with clear bell-like tones on the neck pickup, signature quack when combining the neck and bridge pickups, and pristine twang in the bridge position backed with the fullness and power of a P-90. Push these into overdrive and experience the hallmark blues tone with plenty of grit and harmonic sustain — all with completely noiseless performance.
Key Features of the Single-Bell:
- Cast Alnico 5 Magnet, designed to be used with 500k pots
- Voiced to capture that signature Fender-style single coil tone without the 60-cycle hum
- Lightly potted to minimize squeal
- Made in the USA with premium quality materials
The retail price for a Bridge and Neck matching set is $340.00 and they’re available directly and exclusively through Belltone® Guitars / Brickhouse Toneworks at belltoneguitars.com.
Designed for players who demand flexibility without sacrificing tone, the Aquanaut fuses the rich warmth of classic analog delay with the extended range and clarity of modern digital designs. Featuring up to 600 milliseconds of delay time, the Aquanaut easily covers everything from tight slapback echoes to lush, ambient textures and rhythmic soundscapes – all with a simple, intuitive control layout.
Unlike many digital delays that can sound sterile and detached, the Aquanaut retains an organic, analog-inspired voice. Repeats are smooth and musical, gently fading into the mix to create depth and dimension without overwhelming your dry signal. Whether you’re chasing vintage tape echo, adding subtle space to your solos, or building massive atmospheric layers, the Aquanaut keeps your tone clear, present, and inspiring.
Berserker Electronics Aquanaut Delay/Echo
Key features include:
- Up to 600ms of delay time for expanded creative possibilities
- Analog-voiced digital architecture for warm, natural-sounding repeats
- Ambient-style echo that enhances, not distracts from, your core tone
- Simple, intuitive controls for delay time, feedback, and blend
The Aquanaut is available direct at www.berserkerpedals.com and Reverb at a $149 street price.