The legendary VH4 amplifier was created in 1994 and sparked a revolution in tone. Peter Diezel's powerhouse design generated such demand, that he had no choice but to put his creation into production. Tool's Adam Jones, Metallica's James Hetfield and hundreds of touring pros have cemented the roar and pummeling voice of the VH4 into high-gain history.
The VH Micro amp captures the signature tone and look of its legendary ancestor in an ultra-compact and lightweight design. But don't let the amp's tiny size fool you. Inside the VH Micro are 30 watts of searing rock and metal tones with plenty of power for home, studio, rehearsal, and live applications. The VH Micro amp delivers all the lush, dynamic overdrive character of the VH4 Channel 3 with a familiar front panel controls layout including Diezel's lauded Deep and Presence knobs.
On the back panel you'll find a high-quality effects loop ideal for using time-based effects with your high-gain tones. The included 24V universal-voltage power-supply means you can take your VH Micro wherever you travel.
Features
- Inspired by the VH4 3rd channel and preamp pedal
- Familiar control layout with gain, volume, 3 band EQ Presence and Deep
- Onboard Series effects loop
- Compact, studio-friendly size
- Universal 24V power supply
- Dimensions: 9.5" (w) x 6.25" (d) x 5.25" (h)Weight: 4 lbs.
Diezel
Nashville session and stage MVPs craft an aural wonderland with their genre-defying instrumental album, In Stereo.
Working from a shared language of elegance and grit, Nashville guitar domos Tom Bukovac and Guthrie Trapp have crafted In Stereo, an album that celebrates the transcendent power of instrumental musicāits ability to transport listeners and to convey complex emotions without words.
In Stereo also honors Trapp and Bukovacās friendship, which ignited when Trapp and Bukovac met over a decade ago at Nashvilleās 12 South Taproom eatery and clubāan after-hours musicianās hangout at the time. They also sometimes played casually at Bukovacās now-gone used instrument shop, but when theyāre onstage todayāsay at Trappās Monday night residency at Nashvilleās Underdog, or at a special event like Billy Gibbonsā BMI Troubadour Award ceremony last yearātheir chemistry is obvious and combustible.
āGuthrie is very unpredictable, but for some reason our two styles seem to mix well.āāTom Bukovac
āItās like dancing with somebody,ā Bukovac says about their creative partnership. āIt is very easy and complementary. Guthrie is very unpredictable, but for some reason our two styles seem to mix well, although we play very differently.ā
As PepĆ© Le Pew probably said, āVive la diffĆ©rence.ā While theyāre both important figures in Nashvilleās guitar culture as badass, in-demand session and live players, Trapp also points out that the foundation of their respective careers is on opposite swings of that pendulum. Bukovacās reputation was built on his studio work. Besides his touring history, heās played on over 1,200 albums including recordings by the Black Keys, Glen Campbell, Keith Urban, Stevie Nicks, Bob Seger, and Hermanos GutiĆ©rrez. And Trapp considers himself mostly a stage guitarist. He emerged as a member of the Don Kelly Band, which has been a Lower Broadway proving ground for a host of Nashville 6-string hotshots, including Brent Mason, Johnny Hiland, and Redd Volkaert. In recent years, you may have seen him on the road with John Oates. Itās also possible youāve heard Trapp on recordings by Rodney Crowell, Emmylou Harris, and Roseanne Cash, among others.But back to In Stereo. āThis record is truly for the love of music and not giving a shit what anybody else is going to think about it,ā relates Trapp, as he, Bukovac, and I sit and talk, and they noodle unplugged on a Danocaster and an ES-355, respectively, in the warm, instrument-filled surroundings of the Cabin Studio in East Nashville. The album was recorded there and at another studio, simply called the Studio, with Brandon Bell engineering.
āWhen we started working on the album, it was very loose,ā explains Bukovac. āI never wanted to bring in anything that was complete because the key is collaboration. So, I knew better than to come in with a complete song. And Guthrie didnāt do that either. We would just come in with a riff for an idea and then let the other guy finish itāand thatās the best way to do it.ā
āItās got enough humanityāreal playingāmixed with the cinematic side of it.āāTom BukovacAll of which helped make In Stereoās 11 compositions seamless and diverse. The album opens with a minute-long ambient piece called āWhereās the Bluegrass Band,ā which blends acoustic and electric guitars, feedback, and keyboards with generous delay and reverbātelegraphing that listeners should expect the unexpected. Of course, if youāve been following their careers, including their estimable YouTube presence, youāre already expecting that, too. So, a soulful composition like āThe Black Cloud,ā which builds from a Beatles-esque melody to a muscular and emotive power ballad of sorts, comes as no surprise. āDesert Manā is more of a mindblower, with its dark-shaded tones and haunting melodies. āCascade Parkā is an unpredictable journey that begins with delay-drenched piano and leads to Trappās acoustic guitar, which evolves from contemplative melody to feral soloing. And āBad Cat Serenadeā and āTransition Logo Bluesā balance the worlds of country and jazz fusion. Overall, the music is timeless, emotional, and exploratory, creating its own world, much as Ennio Morricone did with his classic film soundtracks.
Tom Bukovac's Gear for In Stereo
Tom Bukovac and his ā58 Les Paul sunburstāone of just a handful of guitars he used to record In Stereo.
Guitars
- 1958 GibsonĀ Les Paul āBurst
- 1962 Stratocaster
- Harmony acoustic rebuilt by James Burkette
- Jeff Senn Strat
Synth
- Roland XP-30
Amp
- Black-panel Fender Princeton
Effects
- Nobels ODR-1
- Strymon Brigadier dBucket Delay
Strings & Picks
- DāAddario NYXLās (.010ā.046)
- Fender Mediums
āItās a lot to ask somebody to sit and listen to an instrumental record,ā Bukovac offers, āso I was just trying to make sureāand I know Guthrie did the sameāit doesnāt get boring. When I finally sat and listened to this thing in its entirety, which was many months after we actually recorded, I had forgotten what weād even done. I was overwhelmed. I love that I never got bored. It moves along and has moments where it gets into sort of a trance, in a good way, but it never stays there too long. Itās got enough humanityāreal playingāmixed with the cinematic side of it.ā
Trapp picks up the thread: āIf youāre in Nashville for a long time and youāre paying attention at all, you understand this is a song town. No matter how you slice it, itās all about the vocal and the lyric and the song. So, it doesnāt matter if youāre making an avant-garde instrumental guitar record. That influence is pounded in your braināhow important it is to trim the fat and get down to the song. A song is a song. It doesn't matter if itās instrumental or not. Itās a āDonāt get bogged down and get to the chorusā kind of thing.ā
āA song is a song. It doesnāt matter if itās instrumental or not. Itās a āDonāt get bogged down and get to the chorusā kind of thing.āāGuthrie Trapp
Which alludes to the sense of movement in all these compositions. āItās very important that every section of a song delivers every transition,ā Bukovac adds. āWhen you go into a new room, when you open that door, itās got to be right. Thatās what I think about records. And thereās a lot of shifting on this record. We go from one field to another, and were very concerned about making sure that each transition delivers.ā
Guthrie Trapp's Gear for In Stereo
Guthrie Trapp recording with his Danocaster Single Cut, made by Nashvilleās Dan Strain.
Guitar
- Dan Strain Danocaster Single Cut
Amps
- Kendrick The Rig 1x12 combo
- Black-panel Fender Princeton
Effects
- Strymon Brigadier dBucket Delay
- Strymon Lex
- Nobels ODR-1
- Xotic RC Booster
- T-Rex Tremster
- Boss TU Tuner
Strings & Picks
- DāAddario NYXLās (.010ā.046)
- Medium celluloid
That kind of thoughtful developmentāthe set up and delivery of various compositional sections in songsāisnāt exactly a lost art, but itās certainly rarer than in earlier decades. Listen to Elton Johnās Goodbye Yellow Brick Road to hear how Davey Johnstone sets up verses, choruses, and bridgesāor anything by David Gilmourāfor reference. Itās also a goal best accomplished with a team of exceptional players, and, of course, Trapp and Bukovac enlisted some of Music Cityās finest. The cast includes steel-guitar legend Paul Franklin, keyboardist Tim Lauer, bassists Steve Mackey and Jacob Lowery, and drummers Jordan Perlson and Lester Estelle.
āDonāt tell my mom, because of course we all want to make a living, but playing music that has integrity is at the top for me.āāGuthrie Trapp
āWe recorded the basicsāreally, most of the tracksālive on the floor,ā says Trapp.
āWe kept a lot of the original throw-down/go-down solos,ā Bukovac adds. āThere were very few fixes and overdubs. One of the best moves we made was letting an outside person objectively sequence it, because you can get a little bit too inside your own thing. Itās like ā¦ if youāve ever done a photo shoot, if you let somebody else choose the photo, itās never going to be the one youād choose, and itās probably a better choice.ā That task fell to Nick Govrik, another friend and engineer.
The terrain Bukovac and Trapp cover on their first album together is expansive and transportingāand packed with impressive melodies and guitar sounds.
The shipment of In Stereoās vinyl arrived shortly before Trapp, Bukovac, and I talked, and while Bukovac released his first solo album, Plexi Soul, in 2021, and Trapp put out his releases Pick Peace and Life After Dark in 2012 and 2018, respectively, they seemed as excited to listen to it as teenagers in a garage band unveiling their debut single. Thatās because, despite their standing and successes, playing guitar and making music is truly in their blood. What they play is a genuine expression of who they are, ripped from their DNA and presented to the world.
āDonāt tell my mom this, because of course we all want to make a living, but playing music that has integrity is at the top for me,ā says Trapp. āThese days, with AI and people worried or insecure about where the music business is going, and all these Instagram players who just are fixing everything with Pro Tools so they sound like theyāre in a studio, I donāt worry because weāre not selling bullshit. We have 35 years of real experience between us, and when we do social media, weāre just reaching for a cell phone and posting it. Itās organic. That, to me, is a big difference. At the end of the day, I can sleep well knowing that I have earned the respect of the people that I respect the most. Itās just authentic music made for the very reason we got into this in the first place. We love it.ā
YouTube It
Guthrie Trapp and Tom Bukovac practice their live chemistry together at Trappās standing Monday night gig at Nashvilleās guitar-centric Underdog.
With buffered bypass and top-mounted jacks, this compact pedal is perfect for adding punch to your playing.
Carl Martin has introduced the Tone Tweaker, a 12dBboost pedal designed to unleash the full potential of your favorite gear. This subtle yet powerful booster pedal is built with an internal voltage booster that provides extra headroom and makes your beloved tube amp sound even better. It is perfect for cutting through the mix during solos and adding extra punch to your rhythm playing.
Tone Tweaker features an efficient 3-band equalizer, allowing you to fine-tune your sound with dedicated controls for Mid, Treble, and Bass. Whether you want to add warmth to your midrange, more sharpness to your treble, or extra depth to the low end, Tone Tweaker gives you the tools to shape your sound with exceptional effect ā subtle yet powerful.
Key Features
- 12dB Boost: Instantly enhance your signal with a clean, transparent boost that preserves the integrity of your original tone.
- Internal Voltage Booster: Increases the amount of voltage sent into the pedalās circuitry, providing extra headroom and boost.
- 3-Band Equalizer: Customize your sound with precise adjustments using the Mid, Treble, and Bass controls. It's far more powerful than you think.
- Buffered Bypass: Preserves signal strength and tone quality, ensuring your sound remains consistent even when the pedal is not engaged.
- Top-Mounted In/Out Jacks and Compact Design: Designed to take up minimal space on your pedalboard, with top-mounted jacks saving space and providing a cleaner setup.
You can purchase The Tone Tweaker for $149 directly from Carl Martin and, of course, also at leading music retailers worldwide.
For more information, please visit carlmartin.com.
Carl Martin Tone Tweaker | Simple and Effective - YouTube
A loving homage to the Boss CE-1 is addictively vintage in form and function, and offers enhanced chorus control and immersive rotary-like vibrato tones.
Liquid, immersive, addictive modulation tones. Beautiful vintage-style enclosure. Useful impedance switch lends extra headroom. Sturdy. Spacious control layout.
Big footprintāif you care about such things.
$189
Warm Audio WA-C1
warmaudio.com
In the impetuousness of my youth, I was, among other things, a reactionary chorus hater. Such were the obligations of a lad that preferred the Pebblescompilations to the Police in the 1980s. So, upon my regular visits to the old Starving Musician on El Camino Real in Santa Clara, I would often peer at a cheap, used Boss CE-1 and think, āDamn ... looks cool. Wish it wasnāt a chorus.ā
It took a long time for me to get right in the head about that particular issue. Long enough that Boss CE-1s werenāt very cheap by the time I figured it out. Once again, Warm Audio has stepped in to grant me the chance to heal the wounds from my foolish ways. The all-analog, bucket-brigade-driven WA-C1 is the companyās latest, mostly faithful homage to a classic. In this case, Warm Audio enhanced the functionality of the chorusāsplitting the CE-1ās chorus āintensityā control, which combined depth and rate functions, into independent depth and rate controls. It also adds a Hi-Z impedance switch that enables selection of a vintage-spec 50 kHz and a 1.1 MHz mode that improves headroom and clarity in the high-mid range. And while this may be sacrilege, Iād venture that the WA-C1, with its more compact dimensions, looks almost every bit as cool as the original.
Dimensional Contractions, Utility Expansions
One of the best things about Warm Audioās pedals is that they concede little to the concerns of modern pedal-footprint obsessives. By Warm Audioās standards, though, the WA-C1 is nearly petiteācertainly compared to its inspiration. And even in this guise, itās a lot larger than it needs to be. But thereās a lot of upside to the generously sized enclosure apart from just looking awesome. The knobs are easy to manipulate thanks to their larger size, and the space between the footswitches means you can stomp with abandon on the chorus/vibrato switch, which can yield dramatic shifts and contrasts in color. The WA-C1 is also just inviting. It begs you to use it, in a way. And the marriage of lines, chrome, and the tough industrial finish is a lovely antidote to dull post-iPhone designāeven if it is grey.
āIf the mono output is lovely, the experience of the WA-C1 in stereo is more like a summer Saturday-morning-sleep-in dream.ā
Washed Up from the Depths
In both chorus and vibrato modes, the WA-C1 possesses an unmistakable vintage glow. The modulations and pulses are syrupy, elastic, and hard-edged in all the right places. If you love the sounds of James Honeyman-Scott (who used the Boss CE-1) and Smiths-era Johnny Marr (who used the Roland Jazz Chorus and Boss CE-2), the mono voice will find you laughingly swimming in pools of sunset shimmer. But if the mono output is lovely, the experience of the WA-C1 in stereo is more like a summer Saturday-morning-sleep-in dream. At the most archetypal Honeyman-Scott settings, the chorus is syrupy, slippery, and aqueous. The vibrato is more than a little evocative of a Fender Vibratone rotary speaker, particular in slower-to-medium-speed modes that give the modulation room to breathe. Mind you that, apart from the WA-C1ās rotary-like vibrato tones, the WA-C1ās main attraction, the 1970s/1980s era chorus sounds, still donāt approach the top of my hierarchy of must-have tones. I fell in love anyway. This is a pedal that can take a practice or writing session deep into the night.
The Verdict
Obviously, the Warm Audio WA-C1 is not the only very nice chorus that sounds awesome and offers stereo functionality. The Boss CE-2W Waza Craft, for instance, runs in stereo and even has a very nice CE-1-style voice in a more compact package. But itās also 30 bucks more, and the WA-C1 features a truly transformative Hi-Z switch and the expanded chorus control section, which makes switching between contrasting chorus and vibrato settings especially striking in the right setting. And if a certain kind of vintage aesthetic has the effect of being musically inspiringāa valid position, as far as Iām concernedāthe combination of smart style and addictive, immersive modulation sounds makes the $189 WA-C1 a deal.
The Alabama-born country-rockers bring some custom gear from their home state to the stage of Nashvilleās Ryman.
Mobile, Alabamaās Red Clay Strays started out as a local cover band. In 2016, they officially formed as the Strays, adding a couple players to round out the five-person outfit. After a few years gigging around the state and some festival slots, the band hit it big in 2023 when their song āWondering Whyā went viral on TikTok. It climbed up the Billboard charts and landed the band a deal with RCA Records. That led to their Dave Cobb-produced second studio LP, Made by These Moments, which was released on July 26.
In September, the band made their debut at Nashvilleās Ryman Auditorium on tour behind the record, and guitarists Drew Nix and Zach Rishel brought a beautiful stable of American-made 6-strings for the occasion. They gave PGās John Bohlinger a tour of the goods.
Brought to you by DāAddario.Faylands from Fairhope
Both Nix and Rishel play Fayland guitars, made by Chris Fayland in Fairhope, Alabama. Nix gives a quick, Ricky Bobby-esque rundown of his Fayland T-style: āItās good wood, it plays real good. I donāt know what to do with my hands.ā He strings it with .010s.
Memphis-Made
For semi-hollow āsquishiness,ā Nix turns to this Gibson ES-339, made in Memphis. This and Nixās other guitars, including his Fayland and his 2017 Les Paul Classic with PAF-style Geppetto pickups, carry striking, detailed straps made by Jon Wye.
Drew Nix's Amp
Nix tours with two ārun of the mill, Guitar Centerā Fender Twin Reverbs, which he switched to after āblowing upā Rishelās Fender Hot Rod Deville. The Ryman gig was being recorded, so Nix had a second one on hand in case the first ran into any issues.
Nixās Straightforward Board
Nix runs a Pedaltrain Metro 24 board, which is loaded with an Ernie Ball VP JR, Peterson Strobostomp, JHS Whitey Tighty, Browne Amplification Atom, JHS Morning Glory, Xotic EP Booster, Strymon El Capistan, and Strymon Flint.
Fairhope "Firebird"
Rishel loves his Faylands, too. He tours with a baby blue āMark IIā Fayland Strat, equipped with stainless-steel frets and a Tele-style bridge pickup. His Fayland āFirebirdā Tele is even more of a stunner, with its candy-red finish and firebird decal. This one has a trio of Lollar pickups, and a traditional three-way Tele switching system. A button between the volume and tone knobs activates the middle pickup for Strat-style tones and modified switching.
A Fine Vintage Super Reverb
Rishel picked up this 1968 Fender Super Reverb from Carter Vintage Guitars in Nashville, which he calls āthe best guitar shop in the world.ā
Zach Rishel's Pedalboard
On his board, Rishel runs a TC Electronic Polytune 3, SRossFX Sun King, MXR Custom Badass Modified O.D., Greer Super Hornet, SRossFX Echo Flex, TC Electronic Hall of Fame, SRossFX Dual Roebuck, and Keeley Dark Side. Itās all powered by a Mooer Macro Power S8.