Thousand Oaks, CA (December 5, 2018) -- Mitchell is proud to announce two new additions to its lineup of affordable high-quality guitars: the MD150SB double-cutaway solid-body electric, which sports a classic Sunburst finish, and the O120CEMB orchestra-sized acoustic-electric, with a high-gloss Metal Black finish. Whatever a player's musical style, either instrument offers outstanding tone, generous features, and premium materials.
The Mitchell MD150SB is a highly versatile electric for beginning a rock 'n' roll journey. Its Sunburst finish evokes the look of classic rock supergroups, and the double-cutaway form factor gives the player easy access to higher frets for advanced solo work. A one-piece maple neck is finished with a durable, jatoba cherry fretboard. The flatter overall neck radius makes the MD150SB easy to play. The adjustable TOM-style bridge is the industry standard for stable intonation, while the string-through-body design offers extended sustain.
The MD150SB's dual-pickup configuration employs high-gain ceramic humbuckers, a three-position pickup switch, a volume control for each pickup, and a tone control. This allows the player to achieve a variety of tones suitable for rock, metal, blues, jazz, and many other styles. High-ratio tuners ensure precise tuning control, and black nickel machine heads and other hardware complement the Sunburst finish beautifully.
Packing a surprisingly big acoustic sound, the Mitchell O120CEMB is ideal for musicians who have found larger acoustic-electric guitars uncomfortable to play, as well as for those who simply want to expand their sonic palette. With a select spruce top, rosewood bridge, and mahogany neck, sides, and back, the orchestra-style size acoustic-electric is remarkably loud, even when played without amplification. Sealed die-cast tuners ensure tuning stability.
The O120CEMB's onboard preamp features top-grade electronics including a three-band EQ and phase switch for tailoring the amplified tone to the room or gig. The electronics section also features a built-in digital tuner, allowing for convenient and precise tuning on the fly. Its Metal Black finish, multi-ply body binding, abalone sound-hole rosette, and beautifully bound fingerboard add up to a head-turning appearance that will make an impression even before a single note is played.
The Mitchell MD150SB and O120CEMB are available at Guitar Center and Musician's Friend for $129.99 and $149.99, respectively. Before delivery to dealers, all Mitchell electric guitars receive a complete setup and quality control inspection to ensure exceptional playability. With a variety of models that deliver high-end quality and outstanding performance for a surprisingly affordable price, there's a Mitchell electric guitar or bass for everyone.
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Mitchell Guitars
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
