Inspired by “D-style” tube amplifiers used by SRV, Robben Ford, and Larry Carlton, the Sol Drive is designed to capture the overdrive essence of these classic tube amps.
AmpMojo has introduced its debut guitar product, the Sol Drive, a groundbreaking pedal that delivers overdrive with exceptional tonal character and versatility.
At the heart of the Sol Drive lies a Tung-Sol 12AX7 pre-amp tube, renowned for its harmonic complexity and vintage warmth. The tube is housed securely in a high-quality enclosure with a genuine amplifier tube socket and hardware, ensuring reliable, tour-grade performance. You’ll get real tube tone and real tube dynamics and feel with the Sol Drive.
- Genuine Tung-Sol 12AX7 Reissue Tube ensures top-tier tone and performance.
- Gain: Adjusts the amount of gain, from cleaner tones to maximum overdrive.
- Voice: Shapes tonality to your guitar/amp by contouring low-end and mid-frequencies.
- Tone: Attenuates high frequencies for refined sound.
- Level: Sets overall pedal volume.
- Top-mounted IN, OUT, and 9V DC jacks for easy access and space efficiency.
- No-Click Soft Foot Switch and relay circuit for True-bypass operation.
- Built in the US with the highest quality electronic components for roadworthy reliability.
The Sol Drive doesn't just stand out on its own; it seamlessly integrates and enhances other drive pedals and boosted signals, adding depth and richness to any setup.
The Sol Drive is available directly online at ampmojo.com for $299.
For more information, please visit ampmojo.com.
Lewis Martin Rocks with AmpMojo Sol Drive
There’s so much that goes into bringing a pedal to life. Here’s a stash of DIY kits in various stages of completion at the author’s workshop.
Do you scoff at pedal prices? Here’s a deep look at the process and expenses of bringing a pedal to market.
You’ve come up with something special and inspiring on the breadboard and are ready to put the circuit into a pedal. How do you do that? You could hire a contractor, but let’s go full DIY.
You will need a CAD program to lay out the schematic and the subsequent circuit board. Once purchased, you need to learn to use the software to create a digital schematic and PC board. This process is not strictly about understanding the software—you also need to learn PCB layout practices as they relate to grounding, trace length, footprint design, and other common elements. While adhering to these, you also need to layout hardware, like potentiometers and toggles, in specific locations that allow them to appropriately mate with the enclosure that they will be stuffed into.
Now that we have our circuit laid out, we need to create specific file types to send off to a fabrication house so that they can open the files and manufacture the PC boards correctly to our design. Once we’ve submitted the files and they are approved, we wait with excitement, and dread, until they come in. Why dread? Well, we won’t know if the PCB is correctly populated with components that fit the package footprints and distribute power correctly, and if the audio sounds like what we designed on the breadboard, until they arrive. There may also be noise or other issues that we’ll need to track down before we can call the PCB finished. The first PCB that I ever designed came in looking exactly like the digital file, but did not work whatsoever.
After we’ve debugged the PCB to make it work, we get to a fun and frustrating step: putting the circuit into our enclosure. The enclosure part is fun because it’s the external, artistic side of the product where the builder’s creativity is first seen. An unappealing look could be the deciding factor for a consumer. I’m sure most of us have made a decision on a guitar or pedal before it’s even plugged in.
Trying to squeeze everything into an enclosure can become discouraging. The more hardware that’s affixed to the PCB, the more every measurement counts. This means every knob, toggle, footswitch, audio jack, and DC jack will play a role in making the PCB line up with the drill holes on the enclosure. That’s an aspect we haven’t even covered yet.
“An unappealing look could be the deciding factor for a consumer.”
Most of us in the industry have our enclosures manufactured at one-stop-shop locations. This is because having the facilities and tools to do drilling, powder coating, and UV or screen printing in-house is simply not feasible for most. Once we get a line on an enclosure manufacturer, we need to get them our drill measurements. This includes drill-hole diameters and locations related to each other, and from the edges of the enclosure. Once done, we need to get those measurements into digital form along with any artwork. We also need to pick a powdercoat color from the thousands of colors available. Not all powders adhere the same way to metal and not all powders work well with UV printing. So how do we take our drill measurements, powder color, and artwork to the next step? This is stomping grounds for Adobe Illustrator—another software program to purchase and learn. Crud!
After the enclosure files are sent off, made to spec, and received, we hold our breath and hope the populated PCB fits into the drilled enclosure. If it does, we dance. If it doesn’t, we break out the ruler and calipers and measure the places that we messed up. If the changes are to the PCB, we make them and order new samples. Same goes for the enclosure. While those revisions are being fabricated, we can focus on the packaging for the pedal. This is another fun part, and something that the customer will interact with upon receiving.
This is where I need to leave you. Before doing so, I’d like to point out that we haven’t gone into the remaining aspects of bringing a boutique pedal to life. There are still major considerations like product photos done in a photo area with a nice camera and edited with (more) software. Website construction to display that pedal along with copy and SEO, packaging materials, a label printer, and shipping software that talks to the website.
And at that, I’ve omitted a lot of small and medium steps in the breakdown of bringing a pedal to market. So I ask, are pedals really overpriced?
Strong midrange-focused personality. Particularly vowel-ly and vocal sweep. Feels controlled.
Some players will miss silkier, hazier bass-range sounds.
$249
Dunlop Mick Ronson Cry Baby
Park and fly with this mid-focused but very vocal wah honoring Bowie’s right-hand man.
Dunlop Mick Ronson Wah - MAIN by premierguitar
Mick Ronson—lead ripper, lieutenant, riff-dealer, and arranger in David Bowie’s Spiders from Mars—was such a cool amalgam of ’60s British guitar voices. He had Keith Richards’ sense of rhythm and hooks, Jimmy Page’s knack for evil-sounding ear candy, and a preference for loud, simple rigs: Les Paul, Marshall, Tone Bender, Echoplex, and, most critically, a Cry Baby wah. You know the sound of this Cry Baby. It’s everywhere on early 1970s Bowie records—“Queen Bitch,” “Moonage Daydream,” and “Width of a Circle,” to name a few—and it put discernible fangs and venom in his playing. There are many such sounds in Dunlop’s excellent new tribute, the Mick Ronson Cry Baby.
Ronno was not a wah player in the “wocka-wocka” sense. He primarily used the pedal in a fixed position or with subtle longer sweeps. His favorite wah for the job was an early Cry Baby built in Italy by Jen. These wahs were notoriously, shall we say, “unique” from specimen to specimen. And without Ronno’s original on hand for comparison, it’s hard to know how close the tribute gets to nailing it. But there is an unmistakable mid focus that mirrors and invites Ronno’s biting phrasing—particularly in Bowie’s live recordings from the time. The new pedal’s sweep starts out squawky at the heel-down position, where my other vintage-voiced wahs just sound foggy. That midrange emphasis and presence remains through its sweep, suggesting the Ronson Wah’s singing range is narrow. On the contrary, the many distinctly different vowel sounds within that range color the base tone more strongly than many wahs with a smoother, bassier taper. That profile lends itself to great control and multiple bold, distinct sounds—particularly when an angry gain device is situated upstream.
Legendary shredder Joe Satriani was the first ever guest on Wong Notes, so it makes sense that he’s the first returning sit-in with Cory Wong.
He teases a new song with Sammy Hagar, plus delves into the intricacies of Eddie Van Halen’s playing and why he can’t quite replicate it—every guitarist has their strengths and deficiencies, claims Satch. And believe it or not, Satriani didn’t figure standing in front of huge crowds to be one of his strengths when he was younger. Fate figured otherwise.
Satriani goes deep on one of his favorite tools, the Sustainiac pickup, and talks about how it’s defined his playing—just like his trademark sunglasses, even in dark rooms. (“Stupid idea, right?” he jokes.)
And young guitarists, listen up: Satriani has some wise words on the importance of rigorous practice while you’re budding on the instrument. The big takeaway? Learn. Your. Scales.
Paul Reed Smith also continues to evolve as a guitarist, and delivered a compelling take on Jeff Beck’s interpretation of “Cause We’ve Ended As Lovers” at the PRS 40th Anniversary Celebration during this year’s NAMM.
After 40 years at the helm of PRS Guitars, our columnist reflects on the nature of evolution in artistry—of all kinds.
Reflecting on four decades in business, I don’t find myself wishing I “knew then what I know now.” Instead, I’m grateful to still have the curiosity and environment to keep learning and to be in an art that has a nonstop learning curve. There’s a quote attributed to artist Kiki Smith that resonates deeply with me: “I can barely control my kitchen sink.” That simple truth has been a guiding principle in my life. We can’t control the timing of knowledge or discovery. If profound learning comes late in life, so be it. The important thing is to remain open to it when it arrives.
I look at what’s happened at PRS Guitars over the last 40 years with real pride. I love what we’ve built—not just in terms of instruments but in the culture of innovation and craftsmanship that defines our company. The guitar industry as a whole has evolved in extraordinary ways, and I’m fortunate to be part of a world filled with passionate, talented, and good-hearted people.
I love learning. It may sound odd, but there’s something almost spiritual about it. Learning isn’t constant; it comes in stages. Sometimes, there are long dry spells where you can even struggle to hold onto what you already know. Other times, learning is sporadic, with nuggets of understanding appearing here and there that are treasured for their poignancy. And then there are those remarkable moments when the proverbial floodgates open, and the lessons come so fast that you can barely keep up. I’ve heard songwriters and musicians describe this same pattern. Sometimes, no new songs emerge; sometimes, they trickle out one by one; and sometimes, they arrive so quickly it’s impossible to capture them all. I believe it’s the same for all creatives, including athletes, engineers, and everyone invested in their art.
Looking back over 40 years in business and a decade of preparation before that, I recognize these distinct phases of learning. Right now, I’m in one of those high-gain learning periods. I’ve taken on a teacher who is introducing me to concepts I never imagined, ideas I didn’t think anyone could explain—things I wasn’t even sure I was worthy of understanding. But when he calls and says, “Have you thought about this?” I lean in, eager to absorb, not just to learn something new for myself, but because I want him to feel his teaching is appreciated, making it more likely that the teaching continues.
“Learning isn’t just about accumulating knowledge; it’s about applying it, sharing it, and evolving because of it.”
Beyond structured teaching, learning also comes through experience, discovery, and problem solving. We recently got our hands on some old, magical guitars, vintage pickups, microphones, and mic preamps. These aren’t just relics; they’re windows into a deeper understanding of how things work and what the engineers who invented them knew. By studying the schematics of tube-mic preamps, we’re uncovering insights that directly influence how we wire guitar pickups and their electronics. It may seem like an unrelated field, but the many parallels in audio engineering are there if you look. Knowledge in one area has a ripple effect, unlocking new possibilities in another.
Even as I continue learning, I recognize that our entire team at PRS is on this journey with me. We have people whose sole job is to push the boundaries of what we understand about pickups, spending every day refining and applying that knowledge so that when you pick up a PRS guitar, it sounds better. More than 400 people work here, each contributing to the collective advancement of our craft. I am grateful to be surrounded by such a dedicated and smart team.
One of my favorite memories at PRS was at a time we were deep into investigating scale lengths on vintage guitars, and some unique pickup characteristics, when one of our engineering leaders walked into my office. He had just uncovered something astonishing and said, “You’re not going to believe this one.” That excitement and back-and-forth exchange of ideas is what keeps this work so rewarding.
As I reflect on my journey, I see that learning isn’t just about accumulating knowledge; it’s about applying it, sharing it, and evolving because of it. I get very excited when something we’ve learned ends up on a new product. Whether lessons come early or late, whether they arrive in waves or trickles, there is always good work to be done. And that is something I just adore.
