
Digital approximations of analog modulation classics in an easy-to-use, compact package.
Super simple, compact design with solid digital approximations of hard-to-replicate analog sounds. Fair price.
Flanger could benefit from a little extra control.
$159
Mojo Hand FX Swim Team
mojohandfx.com
While it’s not a stated part of their mission, Mojo Hand FX seems to prize simplicity in their pedals. Many Mojo Hand pedals that could be more complex to take advantage of digital processing possibilities are just three knobs and a push button. And while this isn’t the only layout the company utilizes, it’s employed effectively on pedals like the Deluxe Memory Man-inspired Dream Mender to distill a more complex analog stompbox to its essence. The Mojo Hand Swim Team, a digital chorus and flanger inspired by the Electro-Harmonix Polychorus, Echoflanger, and Small Clone, uses the same 3-knob layout to make summoning classic and powerful modulation sounds easy.
Wade in the Water
The Swim Team’s graphics are a clear homage to Nirvana’s Nevermind. Mojo Hand also sells a limited negative-image, black-and-white “bleached” edition (though Bleach, Nirvana’s first LP, is graced by little if any chorus or flange effects). While Kurt Cobain didn’t use a lot of pedals, he was no stranger to chorus and flange. They helped define the sound of Nevermind and In Utero, in particular, and Cobain used the EHX Small Clone, Polychorus, and Echoflanger at various points in his career. Heck, I’d wager a generation of guitarists were turned on to the effect from the opening notes of “Come as You Are” alone.
Mojo Hand FX Swim Team Review by premierguitar
- Chorus setting: Mix & Depth at 1 o'clock, variable Rate
- Flanger setting: Mix & Depth at 1 o'clock, variable Rate
The Swim Team uses just three basic controls: depth, rate, and mix/feedback. The latter changes duties depending on which effect is activated with the chorus/flanger button. It’s simpler than a Polychorus or Echoflanger (forgoing the “tune” knob, “filter matrix,” and “double track” modes on those pedals), but simpler than a Small Clone. Simplicity does have some drawbacks: If you plan to change between the two effects in a live situation, there’s no visual cue to reveal which effect is employed. The bypass LED, for instance, doesn’t change color.
The Swim Team uses just three basic controls: depth, rate, and mix/feedback. The latter changes duties depending on which effect is activated with the chorus/flanger button. It’s simpler than a Polychorus or Echoflanger (forgoing the “tune” knob, “filter matrix,” and “double track” modes on those pedals), but simpler than a Small Clone. Simplicity does have some drawbacks: If you plan to change between the two effects in a live situation, there’s no visual cue to reveal which effect is employed. The bypass LED, for instance, doesn’t change color.
Shallows and Depths
The first thing I had to do when I plugged the Swim Team in was fish around for those eerie Nirvana sounds. Plugged into a ’60s Fender Bassman with a ’90s MIJ Fender Jaguar, the quivering tones of “Come as You Are” were easy to summon with all of the knobs between 12 and 1 o’clock positions and the chorus engaged. And if you want to coax the tones of Kurt’s famous live “anti-solo” freakouts, maxing out the rate and depth and pairing the pedal with a ProCo RAT does an excellent job. I also spent a lot of time trying to capture the chaotic warble heard on live renditions of the “Heart Shaped Box” solo. And though there are a lot of ingredients in the tone soup of any live recording, I couldn’t quite summon the thickness of a vintage Polychorus with the Swim Team and RAT alone.
My favorite tones in the flanger department came around with the rate in 9 o’clock territory and depth at noon, which generates a subtle rise-and-fall texture that gives power chords extra glow and single notes a little extra magic. The output starts to get a little chattering-elves crazy once you roll the rate clockwise past 3 o’clock. But most rate settings remain practical and easy to adapt to an existing guitar tone throughout the knob’s sweep. Part of this agreeability in flange mode (which is generally a good thing) makes the Swim Team less suited for over-the-top flange. And if you’re after pitchy, high-frequency peaks and outlandish jet-whoosh, you might want to look to more radical options. That said, I found humbuckers deliver a deeper, richer whoosh from the flanger— especially with lower rate settings. So be sure to try Swim Team with your own rig to see how they match up.
The Verdict
Mojo Hand FX’s Swim Team sells for $159, which is a pretty fair price for the two rich modulation voices that approximate classic, sought-after sounds in stable digital platforms. Both effects sound great in the kind of relatively straight applications you hear in vintage recordings. And the chorus, in particular, is lush and spirited. The flanger covers the basics with ease, but I did miss some of the idiosyncrasies that can make flangers sound so radical and unique, like the metallic bark from an old bucket brigade Electric Mistress. Then again, vintage analog units can be quirky and unreliable. And even their newer BBD counterparts can be pretty expensive. Given that, this compact and streamlined multi-modulator merits praise for offering a design that cuts the extra fat and extra expense.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s 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 ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s 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 Mason’s 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 “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s 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 @ Piere’s
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 PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m 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. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ 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.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
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 author’s analog log.
Seasonal changes are tough on your acoustic. Here’s 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. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m 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 doesn’t 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.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
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, you’ll 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 machinist’s 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, you’ll 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 you’re 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, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll 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!