A phaser with vintage vibes and modern control from Stewmacāwin the Phasor II Kit in the I Love Pedals giveaway! Enter today and return daily for more chances!
StewMac Lightcycle Phasor II Pedal Kit, With White Enclosure
StewMac Lightcycle Phasor II Pedal Kit, With White Enclosure Shop StewMac Lightcycle Phasor II Pedal Kit at StewMac. Our take on the revered Mu-Tron Phasor IIāthe most versatile phaser ever made! StewMAX FREE Shipping!Whitman Audio introduces the Decoherence Drive and Wave Collapse Fuzz, two innovative guitar pedals designed to push the boundaries of sound exploration. With unique features like cascading gain stages and vintage silicon transistor fuzz, these pedals offer musicians a new path to sonic creativity.
Whitman Audio, a new audio effects company, has launched with two cutting-edge guitar pedals, the Decoherence drive and Wave Collapse fuzz. Combining science and art to craft audio effects devices, Whitman Audio aims to transcend the ordinary, believing that magic can occur when the right musician meets the right tool.
Delivering a solution for musicians looking to explore a wide range of sounds, each pedal offers a unique path to finding your own voice. The Decoherence drive injects a universe of unique saturation into your music arsenal while the Wave Collapse fuzz takes you to uncharted sonic territories.
Decoherence features include:
- Cascading stages (Gain A > Gain B) each with a unique sound and saturation character
- Gain A - Medium to high gain stage with a mid focus for clear articulation and punch
- Gain B - Low to Medium gain with a neutral EQ that compliments and expands Gain A
- G/S Toggle - Selects the clipping diodes for Gain B (NOS Germanium or NOS Silicon)
- Tone Knobs (H & L) - Tuned active Baxendall style EQs that boost or cut Highs and Lows
- True bypass switching, accepts standard 9V DC power supplies (does not accept battery)
Introducing: Decoherence Drive -Ā YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Wave Collapse features include:
- Vintage Silicon transistor fuzz that goes from vintage clean to doom metal mean
- Buffered input and pickup simulation ensure it sounds great anywhere in your chain
- Bias Knob - Allows for a huge range of texture and response in the pedals gain structure
- Range and Mass Toggles - Provide easy access to three diverse bass and gain ranges
- Filter Knob - A simple-to-use tilt EQ enhanced by the Center toggle for two mid responses
- True bypass switching, accepts standard 9V DC power supplies (does not accept battery)
The Decoherence drive and Wave Collapse fuzz pedals carry retail prices of $195.00 each.
For more information, please visit whitmanaudio.com.
Introducing: Wave Collapse Fuzz - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.The National New Yorker lived at the forefront of the emerging electric guitar industry, and in Memphis Minnieās hands, it came alive.
This National electric is just the tip of the iceberg of electric guitar history.
On a summer day in 1897, a girl named Lizzie Douglas was born on a farm in the middle of nowhere in Mississippi, the first of 13 siblings. When she was seven, her family moved closer to Memphis, Tennessee, and little Lizzie took up the banjo. Banjo led to guitar, guitar led to gigs, and gigs led to dreams. She was a prodigious talent, and āKidā Douglas ran away from home to play for tips on Beale Street when she was just a teenager. She began touring around the South, adopted the moniker Memphis Minnie, and eventually joined the circus for a few years.
(Are you not totally intrigued by the story of this incredible woman? Why did she run away from home? Why did she fall in love with the guitar? We havenāt even touched on how remarkable her songwriting is. This is a singular pioneer of guitar history, and we beseech you to read Woman with Guitar: Memphis Minnieās Blues by Beth and Paul Garon.)
Following the end of World War I, Hawaiian music enjoyed a rapid rise in popularity. On their travels around the U.S., musicians like Sol Hoāopiāi became fans of Louis Armstrong and the New Orleans Rhythm Kings, leading to a great cross-pollination of Hawaiian music with jazz and blues. This potent combination proved popular and drew ever-larger audiences, which created a significant problem: How on earth would an audience of thousands hear the sound from a wimpy little acoustic guitar?
This art deco pickguard offers just a bit of pizzazz to an otherwise demure instrument.
In the late 1920s, George Beauchamp, John and Rudy Dopyera, Adolph Rickenbacker, and John Dopyeraās nephew Paul Barth endeavored to answer that question with a mechanically amplified guitar. Working together under Beauchamp and John Dopyeraās National String Instrument Corporation, they designed the first resonator guitar, which, like a Victrola, used a cone-shaped resonator built into the guitar to amplify the sound. It was definitely louder, but not quite loud enoughāespecially for the Hawaiian slide musicians. With the guitars laid on their laps, much of the sound projected straight up at the ceiling instead of toward the audience.
Barth and Beauchamp tackled this problem in the 1930s by designing a magnetic pickup, and Rickenbacker installed it in the first commercially successful electric instrument: a lap-steel guitar known affectionately as the āFrying Panā due to its distinctive shape. Suddenly, any stringed instrument could be as loud as your amplifier allowed, setting off a flurry of innovation. Electric guitars were born!
āAt the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.ā
By this time, Memphis Minnie was a bona fide star. She recorded for Columbia, Vocalion, and Decca Records. Her song āBumble Bee,ā featuring her driving guitar technique, became hugely popular and earned her a new nickname: the Queen of Country Blues. She was officially royalty, and her subjects needed to hear her game-changing playing. This is where she crossed paths with our old pals over at National.
National and other companies began adding pickups to so-called Spanish guitars, which they naturally called āElectric Spanish.ā (This term was famously abbreviated ES by the Gibson Guitar Corporation and used as a prefix on a wide variety of models.) In 1935, National made its first Electric Spanish guitar, renamed the New Yorker three years later. By todayās standards, itās modestly appointed. At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.
Thereās buckle rash and the finish on the back of the neck is rubbed clean off in spots, but that just goes to show how well-loved this guitar has been.
Memphis Minnie had finally found an axe fit for a Queen. She was among the first blues guitarists to go electric, and the New Yorker fueled her already-upward trajectory. She recorded over 200 songs in her 25-year career, cementing her and the National New Yorkerās place in musical history.
Our National New Yorker was made in 1939 and shows perfect play wear as far as weāre concerned. Sure, thereās buckle rash and the finish on the back of the neck is rubbed clean off in spots, but structurally, this guitar is in great shape. Itās easy to imagine this guitar was lovingly wiped down each time it was put back in the case.
Thereās magic in this guitar, yāall. Every time we pick it up, we can feel Memphis Minnieās spirit enter the room. This guitar sounds fearless. Itās a survivor. This is a guitar that could inspire you to run away and join the circus, transcend genre and gender, and leave your own mark on music history. As a guitar store, watching guitars pass from musician to musician gives us a beautiful physical reminder of how history moves through generations. We canāt wait to see who joins this guitarās remarkable legacy.
SOURCES: blackpast.org, nps.gov, worldmusic.net, historylink.org, Memphis Music Hall of Fame, āMemphis Minnieās āScientific Soundā: Afro-Sonic Modernity and the Jukebox Era of the Bluesā from American Quarterly, āThe History of the Development of Electric Stringed Musical Instrumentsā by Stephen Errede, Department of Physics, University of Illinois at Urbana-Champaign, IL.
In our third installment with Santa Cruz Guitar Company founder Richard Hoover, the master luthier shows PG's John Bohlinger how his team of builders assemble and construct guitars like a chef preparing food pairings. Hoover explains that the finer details like binding, headstock size and shape, internal bracing, and adhesives are critical players in shaping an instrument's sound. Finally, Richard explains how SCGC uses every inch of wood for making acoustic guitars or outside ventures like surfboards and art.