The alt-rock pioneers show us the killer screen-printed Mesa/Boogies and piles of pedals they use to dish out both ethereal and rough-and-tumble tones.

Nelson runs his violin and cello into a Radial Tonebone PZ-Pre, then into an MXR M108 EQ pedal right before a Morley A/B switch where guitar enters the chain. The guitar side starts with an Xotic EP Booster before going into a Malekko Sloika, Way Huge Green Rhino, Malekko Ekko 616, Way Huge Supa-Puss, Electro-Harmonix POG2, Boss RV-5, Mr. Black Eterna, Sabine NexFx Tuner, and an Ernie Ball volume pedal.

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Fender’s American Vintage II Series

For these new recreations, Fender focuses on the little things that make original golden-era Fenders objects of obsession.

If there’s one thing players love more than new guitars, it’s old guitars—the unique feel, the design idiosyncrasies, the quirks in finish that all came from the pre-CNC era of instrument manufacturing. These characteristics become the stuff of legend, passed on through the years via rumors and anecdotes in shops, forums, and community networks.

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The Red Sea was born out of the vision to provide complex signal routing options available to the live/performing musician, that up until now, are only found in a studio mixing environment.

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Stardust V3 was designed to capture the sound and response of 3 distinct amplifier models.

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The Sunn O))) Life Pedal circuit has been meticulously tweaked from the original and includes a third footswitch.

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