
Premium acoustic guitar cases with heritage design, quilted dry-waxed canvas, and soft felt interior. Available in dreadnought and parlor sizes, with khaki and olive color options.
Guitar Satchel, a new company specializing in premium-quality cases and accessories for working/traveling musicians, has introduced its line of deluxe acoustic guitar cases.
"The Guitar Satchel is the type of case that so many guitarists have yearned for: a soft-sided backpack-style case that matches the craftsmanship of their most treasured acoustic. It’s heritage designed, made of quilted dry-waxed canvas and soft felt interior, and comes with a lifetime guarantee."
The Guitar Satchel is available in two color options – khaki and olive– and two sizes. The dreadnought-style case will fit standard-size acoustic guitars, including OM, concert, and small jumbo instruments. The parlor-size case is designed for travel, classical, and other smaller guitars.
Combining retro-Americana styling with thoroughly modern features, the Guitar Satchel case is made using the best materials and quality craftsmanship of a 120-year-old manufacturer based in Iowa. Its heavy-duty outer material is naturally water-repellent and durable. It has a sumptuous, quilted cotton felt interior and features high-quality leather and brass zippers. (This manufacturer originally supplied the zippers to the US Army during World War I.)
This special-edition guitar case is created to carry your favorite guitars on all your adventures and to meet the level of craftsmanship of your instruments. Built to last a lifetime, the GuitarSatchel is the case you will want to use when passing your beloved guitars down to future generations.
The Guitar Satchel carries a $499 price and is available for purchase at guitarsatchel.com.
For more information, please visit guitarsatchel.com.
By refining an already amazing homage to low-wattage 1960s Fenders, Carr flirts with perfection—and adds a Hiwatt-flavored twist.
Killer low end for a low-wattage amp. Mid and presence controls extend range beyond Princeton or tweed tone templates. Hiwatt-styled voice expands vocabulary. Built like heirloom furniture.
Two-hundred-eighty-two bucks per watt.
$3,390
Carr Skylark Special
carramps.com
Steve Carr could probably build fantastic Fender amp clones while cooking up a crème brulee. But the beauty of Carr Amps is that they are never simply a copy of something else. Carr has a knack for taking Fender tone and circuit design elements—and, to a lesser extent, highlights from the Vox and Marshall playbook—and reimagining them as something new.
Those that playedCarr’s dazzling original Skylark know it didn’t go begging for much in the way of improvement. But Carr tends to tinker to very constructive ends. In the case of the Skylark Special, the headline news is the addition of the Hiwatt-inspired tone section from theCarr Bel-Ray, a switch from a solid-state rectifier to an EZ81 tube rectifier that enhances the amp’s sense of touch and dynamics, and an even deeper reverb.
Spanning Space Ages
With high-profile siblings like the Deluxe, Bassman, Tremolux, and Twin, Fender’s original Harvard is, comparatively, a footnote in Fender’s wide-panel tweed era (the inclusion of Steve Cropper’s Harvard in the Smithsonian notwithstanding). But the Harvard is somewhat distinctive among tweed Fenders for using fixed bias, which, given its power, makes it a bridge that links in both circuit and sound to the Princeton Reverb. The Skylark Special’s similar capacity for straddling tweed and black-panel touch and tone is fundamental to its magic.
Like the Harvard and the Princeton, the Skylark Special’s engine runs on two 6V6 power tubes and a single 12AX7 in the preamp section. A 12AX7 and 12AT7 drive the reverb and the reverb recovery section, respectively, and a second 12AT7 is assigned to the phase inverter. (The little EZ81 between the two 6V6 power tubes is dedicated to the rectifier). Apart from the power tubes and the 12AX7 in the preamp, however, the Skylark Special deviates from Harvard and Princeton reverb templates in many important ways. Instead of a 10" Jensen or Oxford, it uses a 50-watt 12" Celestion A-Type ceramic speaker, and it includes midrange and presence controls that a Harvard or Princeton do not. It also features a boost switch that manages to lend body and brawn without obliterating the core tone. There is also, as is Carr’s style, a very useful attenuator that spans zero to 1.2 watts. Alas, there is no tremolo.
“I’d wager the Skylark Special will be around every bit as long as a tweed Harvard when most of your printed-circuit amps have shoved off for the recycler.”
It goes without saying, perhaps, that the North Carolina-built Skylark Special is made to standards of craft that befit its $3K-plus price. Even still, Carr upgraded nine of the coupling capacitors to U.S.-made Jupiters. They also managed to shave six pounds from the Baltic birch cabinet weight—reducing total weight to 35 pounds and, in Steve Carr’s estimation, improving resonance. Say what you will about the high price, but I’d wager the Skylark Special will be around every bit as long as a tweed Harvard when most of your printed-circuit amps have shoved off for the recycler.
Sweet Soulful Bird
Fundamentally, the Skylark Special launches from a Fender space. But this is a very refined Fender space. The bass is rich, deep, and massive in ways you won’t encounter in many 12-watt combos, and the warm contours at the tone’s edges lend ballast and attitude to both clean tones and the ultra-smooth distorted ones at the volume’s higher reaches. All of these sounds dovetail with the clear top end you imagine when you close your eyes and picture quintessential black-panel Fender-ness. The presence and midrange controls, along with the 50-watt speaker, lend a lot in terms of scalpel-sharp tone shaping—providing a dimension beyond classical Fender-ness—especially when you bump the midrange and turn up your guitar volume.
The tube rectifier, meanwhile, shifts the Skylark Special’s touch dynamics from the super-immediate reactivity of a solid-state rectifier to a softer, more-compressed, more sunset-hued kind of tactile sensitivity. But don’t let that lead you to worry about the amp’s more explosive capabilities. There is more than enough high-midrange and treble to make the Skylark Special go bang.
Anglo and Attenuated Alter Egos
The Hiwatt-inspired setting is still dynamic, but it’s a little tighter than the Fullerton-voiced setting. There’s air and mass enough for power jangling or weighty leads. The differences in the Bel-Ray’s tube selection (EL84 power tubes as well as an EF86 in the preamp) means the Skylark Special’s version of the Hiwatt-style voice is—like the amp in general—warm and round in the low-mid zone and softer around the edges, where the Bel-Ray version has more high-end ceiling and less mellow glow in the bass. It definitely gives the Skylark Special a transatlantic reach that enhances its vocabulary and utility.
Attenuated settings are not just practical for suiting the amps to circumstances and size of space you’re in; they also offer an extra range of colors. The maximum 1.2 watt attenuated setting still churns up thick, filthy overdrive that rings with harmonics.
The Skylark Special’s richness and variation means you’ll spend a lot of time with guitar and amp alone. Anything more often feels like an intrusion. But the Skylark Special is a friend to effects. Strength in the low-end and speaker means it humors the gnarliest fuzzes with grace. And with as many shades of clean-to-just-dirty tones as there are here, the personalities of gain devices and other effects shine.
The Verdict
Skylark Special. It’s fun to say—in a hep-cat kind of way. The name is très cool, but the amp itself sounds fabulous, creating a sort of dream union of the Princeton’s and Harvard’s low-volume character, a black-panel Deluxe’s more stage-suited loudness and mass, and a zingier, more focused English cousin. It can be sweet, subdued, surfy, rowdy, and massive. And it works happily with pedals—most notably with fuzzes that can make lesser low-mid-wattage amps cough up hairballs. The price tag smarts. But this is a 12-watt combo that goes, sonically speaking, where few such amps will, and represents a first-class specimen of design and craft.
Lenny Kravitz’s lead-guitar maestro shares how his scorching hit solo came together.
Hold onto your hats—Shred With Shifty is back! This time, Chris Shiflett sits down with fellow west coaster Craig Ross, who calls in from Madrid equipped with a lawsuit-era Ibanez 2393. The two buddies kick things off commiserating over an increasingly common tragedy for guitarists: losing precious gear in natural disasters. The takeaway? Don’t leave your gear in storage! Take it on the road!
Ross started out in the Los Angeles band Broken Homes, influenced by Chuck Berry, Buddy Holly, and the Beatles, but his big break came when he auditioned for Lenny Kravitz. Kravitz phoned him up the next day to tell him to be at rehearsal that evening. In 1993, they cut one of their biggest hits ever, “Are You Gonna Go My Way?” Ross explains that it came together from a loose, improvisatory jam in the studio—testament to the magic that can be found off-leash during studio time.
Ross recalls his rig for recording the solo, which consisted of just two items: Kravitz’s goldtop Les Paul and a tiny Gibson combo. (No fuzz or drive pedals, sorry Chris.) As Ross remembers, he was going for a Cream-era Clapton sound with the solo, which jumps between pentatonic and pentatonic major scales.
Tune in to learn how he frets and plays the song’s blistering lead bits, plus learn about what amps Ross is leaning on these days.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active Bartolini® pickups and preamps results in basses with the tonal flexibility that today’s players require. Don’t settle for less than a bass that delivers everything you want and need –the look, the feel, and the sound, Tobias.
“I’m thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,” says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. “This revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.”
“It’s amazing to see this icon of the bass world return,” adds Andrew Ladner, Brand Manager for Epiphone and Kramer. “These models are truly a bass player’s bass, and true to the DNA that makes Tobias world-class—the ace up the sleeve of bass players around the globe since 1978. Today’s players can find that unique voice and feel that only Tobias can offer.”
For more information, please visit gibson.com.
Sublime, fronted by Jakob Nowell, son of late Sublime singer Bradley Nowell, are in the studio writing and recording new songs for an upcoming full-length album. This marks their first new album since 1996.
When not performing at various festivals across North America in 2024, front man Jakob Nowell immersed himself in the Sublime catalog and found a deep sense of connection to his late father. The band is tapping into the 90s nostalgia, writing and recording the new songs with powerhouse producing duo Travis Barker and John Feldmann, in addition to working with producer Jon Joseph (BØRNS). The first single will be released this Summer via their newly established label Sublime Recordings.
"I grew up on Sublime. ‘40oz. to Freedom’ changed the way I listened to music. I’m so honored to be working with the guys in Sublime. Creating music for this album has been so fun and exciting. Bradley comes through his son Jakob while writing in the studio and performing. Chills every day in the studio when he sings and play guitar. This is going to be really special." – Travis Barker
“Sublime has always been a huge influence on me and to be able work with the band has been inspirational and game changing…It has been a highlight of my life to work on such a seminal record with such talented people. I’m so grateful for this opportunity and to continue the legacy and keep it authentic to what they have historically done.” – John Feldmann
After Jakob Nowell’s debut as Sublime’s new front man at Coachella 2024, he and his uncles Bud Gaugh and Eric Wilson continued the momentum of this latest chapter of the band, performing at over 20 festivals and shows across North America by the end of last year. Additional highlights from 2024 include Sublime’s late-night television debut on The Tonight Show Starring Jimmy Fallon, a 4-song set on the Howard Stern Show and the band’s first top 10 hit on alternative radio since 1997 with their single “Feel Like That,” featuring the vocals of both Bradley Nowell and his son Jakob together.
2025 is shaping up to be an even busier year for the band, with a handful of headlining shows, high-profile festival appearances to support the release of the new album.
For more information, please visit sublimelbc.com.
Sublime 2025 Tour Dates
- April 5 – LIV Golf Miami – Miami, FL
- April 18 – Red Rocks Amphitheater – Morrison, CO
- May 3 – Beachlife Festival – Redondo Beach, CA
- May 16 – Welcome To Rockville – Daytona Beach, FL
- May 23 – BottleRock Napa Valley – Napa, CA
- May 25 – Boston Calling – Boston, MA
- June 14 – Vans Warped Tour – Washington, DC
- July 12 – 89.7 The River’s 30th Anniversary Show – Omaha, NE
- July 20 – Minnesota Yacht Club Festival – Saint Paul, MN
- September 14 – Sea.Hear.Now – Asbury Park, NJ
- September 19 – Shaky Knees Festival – Atlanta, GA