Following the Maestro line’s revival, Gibson releases five more pedals: the Agena Envelope Filter, Arcas Compressor Sustainer, Mariner Tremolo, Orbit Phaser, and Titan Boost.
After decades, Gibson revived the brand with the debut of the Maestro Original Collection line of pedals. Introducing five new pedals, the Agena Envelope Filter, Arcas Compressor Sustainer, Mariner Tremolo, Orbit Phaser, and Titan Boost, designed and styled for musicians looking to create a unique sound. The Maestro Original Collection pays tribute to the brand’s pioneering classic models, while staying true to Maestro’s spirit with modern features, expanded versatility, and advanced tone-tweaking capabilities. The Maestro Original Collection is available worldwide at authorized Gibson dealers.
Orbit Phaser
The Maestro Orbit Phaser is a descendent of the very first phaser pedal ever produced - the legendary Maestro PS-1. This classic effect has been re-engineered and tailored to the needs of today’s players. The Maestro Orbit Phaser is designed to optimize all the character and vibe you expect from an all-analog phaser. Warm and smooth, the Maestro Orbit Phaser offers all the versatility needed to dial in the tastiest of phaser effects. Its two-position Mode switch gives you a choice of 4 or 6-stage phasing. The intuitive 3-knob control layout lets you quickly set the desired Width (the intensity of the phaser effect), Feedback (emphasizing the amount of vocal phase effect), and adjust the Rate (speed) of the phasing effect. $149.00 USD.
Maestro Tremolo
The Maestro Mariner Tremolo offers two amp-like tremolo options for “two pedals in one” functionality and increased sonic versatility. In Classic mode, you can swing from subtle, smooth amplitude modulation all the way to a sharper-edged, biting modulation, with many creative areas to explore in-between. In Harmonic mode, you can dial up timeless textural Harmonic Tremolo tones that are very reminiscent of the tones produced by a select few vintage amplifier tremolos. With its amp-like tones and ability to vary the tremolo’s wave shape, the Mariner Tremolo delivers a wide range of inspiring possibilities. $159.00 USD.
Titan Boost
The Maestro Titan Boost provides over 25 dB of clean boost, so it can easily drive any tube amp into natural overdrive. Even better, it’s designed to be the ultimate tone-sculpting boost. Equipped with a classic Tone control and a variable HI-Pass filter, any high-frequency shrillness can be easily dialed out, and low-end muddiness can be well tamed. The Titan Boost creates the perfect boosted tone, regardless of guitar, pickups, or pickup switch position. The intuitive 3-knob control layout lets you quickly set the desired Tone (which functions as a traditional tone control/variable low-pass filter), HPF (variable high-pass filter), and adjust the Level of the output volume and boost. $159.00 USD.
Arcas Compressor Sustainer
The Maestro Arcas Compressor Sustainer pedal provides excellent versatility. It offers both transparent, light compression as well as heavy, tight compression. It delivers enough sustain and level compensation to become a go-to workhorse for any situation. This all-analog pedal boasts a two-position Mode toggle switch for increased sonic versatility. The LO mode is less sensitive to pick attack, while the HI mode is more sensitive to pick attack. The intuitive 3-knob control layout lets users quickly dial up the desired Sustain (amount of gain applied during compression), control the Attack (how fast the compression engages), and adjust the amount of gain compensation and the pedal’s overall output volume with the Level control. $149.00 USD.
Agena Envelope Filter
The Maestro Agena Envelope Filter pedal is designed for ease of use and is tailored for optimized dynamic control. The Agena offers two distinct filter frequency options for a wide range of tonal possibilities. Musical and inspiring, it will surely bring on the funk. This all-analog pedal boasts a two-position Mode toggle switch for increased sonic versatility. The LO mode setting focuses the filter in a lower frequency range, while the HI mode emphasizes a higher range of frequencies. The intuitive 3-knob control layout lets users quickly set the desired Sense (the envelope’s sensitivity and response to your picking attack), control the Attack (how fast the filter increases or opens up), and adjust the Decay and how long the filter stays in the open position. $159.00 USD.
Maestro Original Collection | Five NEW Pedals for 2022
MSRP $149-$159. For more information, please visit maestroelectronics.com.
- Maestro Pedals - PG Gear Spotlight ›
- Gibson Revives Maestro with Five New Stompboxes ›
- Maestro FZ-M, Comet Chorus, Invader Distortion, Discoverer Delay, and Ranger Overdrive Reviews ›
Grez Guitars has introduced the Grez GrandTour Bass, a short scale semi-hollow carve-top instrument available in 4-string format.
The Grez Grand Tour Bass, designed in collaboration with bass powerhouse Ian MartinAllison is, like all Grez instruments, a modern sleek interpretation of the classic instruments from the 50’s and 60’s.
The instruments feature a carved Spruce top, Honduran Mahogany body and neck. The 30" scale construction includes a Macassar ebony fretboard, 12” radius with 21 jumbofrets. Each bass comes equipped with a Halon bridge, Grez string anchor and LaBellaDeep Talkin’ long scale 45-105 flatwound strings. Electronics include Curtis Novak Bisonic/Darkstar pickups with coil tap.
The Grand Tour bass features a nitro finish and is available in a variety of colors(pictured here in custom Toasted Marshmallow).
Grez Grand Tour Bass with Ian Martin Allison
Barry Grzebik explains: “I love process of design instruments, marrying acoustical,electrical, visual and ergonomic engineering with industrial and artistic design. In this case creating something that artfully balances the desire for a robust acoustic voice with the need to hold up to professional touring and stadium stage volumes. One small notable detail is that although this is a short scale instrument, because of the after-length of string past the bridge, it uses standard long scale strings which dramatically increases sting options and availability.”
Ian Marin Allison shares, “I’m inspired by the unique character of vintage hollow andsemi-hollow basses, but they don’t always live up to our modern expectation of stability, playability, versatility and QUALITY. I’m proud to have helped create something that does”.
The Grez Grand Tour Bass, is available now from Grez Guitars and their dealers with astreet price starting at $5,999. Light customization is welcome with delivery times aslittle as 8 weeks.
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
