Gibson introduces five pedals in the Maestro Original Collection line, paying tribute its classic models and adding modern features and expanded versatility.
Now, after decades, Gibson has revived the Maestro brand for 2022 with the debut of the Maestro Original Collection line of effects pedals with five new pedals--the Fuzz-Tone FZ-M, Invader Distortion, Ranger Overdrive, Comet Chorus, and Discoverer Delay--all designed, voiced, and styled for the musician looking to shape a unique sound. The Maestro Original Collection pays tribute in sound and style to the brand’s pioneering classic models, while staying true to Maestro’s trailblazing spirit with modern features, expanded versatility, and advanced tone-tweaking capabilities.
Maestro Fuzz-Tone FZ-M Fuzz Pedal
Today’s Maestro Fuzz-Tone FZ-M is an all-analog design that’s effectively two pedals on one: it not only serves up classic, FZ-1-inspired fuzz; you can flip the Mode toggle switch to select a thicker, more contemporary-sounding fuzz tone. In Classic mode, it cuts through the mix like a hot knife through butter. Need it to blend in with the track a bit more? Switch to Modern mode (which also happens to sound awesome on electric bass). However you deploy it in your arrangements, you’ll find the Fuzz-Tone FZ-M makes your mixes glow with vibrant energy and jump right out of the speakers. If you’re like many of the guitarists here at Sweetwater, you’ve collected several pedals over the years in the quest for the ultimate fuzz.
Maestro Fuzz-Tone FZ-M Demo
Maestro Ranger Overdrive Pedal
Overdrive comes in such a wide variety of flavors and functions that Maestro loaded the Ranger up with not one, but two glorious overdrive voices. For those who prefer a more traditional, high-octane overdriven sound, the first setting perfectly captures the essence of a cranked-up and screaming tube amp tone. Looking for something that's a little less extreme? The second setting brilliantly covers the low- to mid- gain territory with exceptional touch and volume control sensitivity.
Maestro Ranger Overdrive Demo
Maestro Invader Distortion Pedal
Many of today's modern-leaning distortion pedals often rely on rows of knobs to deliver their gain-drenched goodness. With the Maestro Invader, three simple controls are all it takes to conjure the trademark girth and grind today's heavier genres demand. As far as the knobs are concerned, it couldn't be simpler to get started — classic controls for Gain, Tone, and Level make it a breeze for Sweetwater guitarists to dial in their favorite metallic tones. With Gain, going from slight overdrive to chainsaw brutality is accomplished with a single turn, finely tuned by the neighboring Tone control to tweak EQ settings to perfection. As implied, Level controls the overall output of the Invader, easily capable of blasting through unity gain if need be.
Maestro Invader Distortion Demo
Maestro Discoverer Delay Pedal
The Maestro Discoverer analog delay pedal exemplifies why vintage bucket-brigade-style delay circuits are still so desirable in the modern era. Offering delay times spanning 20ms to 600ms, and with a simple 3-knob layout to dial in everything from slapback to lingering echoes, the Discoverer pedal arms you with the best that analog delay has to offer. Beyond delays, a switchable (and customizable) modulation circuit allows you to dial in tape-like wow and flutter for extra vintage vibe. Complete with a throwback look to celebrate the Maestro heritage, the Discoverer pedal is a must-have for any delay aficionado.
Maestro Discoverer Delay Demo
Maestro Comet Chorus Pedal
If you have a hankering for classic BBD-style modulation effects, Maestro Comet Chorus will satisfy your analog-fueled craving. This guitar effects pedal employs bucket-brigade-device technology, yielding warm, vintage-tinged chorus tones that are guaranteed to inspire. This all-analog stompbox includes a Mode toggle for expanded sonic flexibility, along with an intuitive 3-knob control layout. The Comet Chorus pedal features true-bypass switching, convenient top-mounted I/O, and eye-grabbing status LEDs. Whether you're aiming for shimmering chorus or mind-bending rotary effects, Comet Chorus delivers the mod-soaked goods.
Maestro Comet Chorus Demo
Maestro is available worldwide at authorized Gibson dealers; for more information visit: www.maestroelectronics.com.
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Neil Young’s ’70s hits are some of the most recognizable radio rock jams of all time. But Neil’s guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Like any discography that’s been growing over the course of more than half a century, it can be hard to decode Young’s work. And with such an adventurous spirit, it could be easy to make some missteps and miss out on his best guitar works. In this episode, Nick guides Jason through some of his hero’s finest moments.
More news from Neil always seems to be on the horizon, so here’s your chance to catch up.
This episode is sponsored by Gibson.
This Japan-made Guyatone brings back memories of hitchin’ rides around the U.S.
So, as I’m prone to do, I started digging around hitchhiking culture and stories. Surprisingly, there are organized groups that embrace the hitching life, but the practice remains on the fringe in the U.S. Back in the 1950s, writer Jack Kerouac wrote the novel On the Road, which celebrated hitchhiking and exposed readers to the thrill of maverick travel. Heck, even Mike Dugan (the guitarist in all my videos) hitched his way to California in the 1960s. But seeing that fellow on the side of the road also sparked another image in my brain: Yep, it always comes back to guitars.
Let me present to you a guitar that’s ready to go hitching: the Guyatone LG-180T, hailing from 1966. The “thumbs-up” headstock and the big “thumb” on the upper bout always made me think of thumbing a ride, and I bought and sold this guitar so long ago that I had forgotten about it, until I saw that hitchhiking dude. Guyatone was an interesting Japanese company because they were primarily an electronics company, and most of their guitars had their wooden parts produced by other factories. In the case of the LG-180T, the bodies were made by Yamaha in Hamamatsu, Japan. At that time, Yamaha was arguably making the finest Japanese guitars, and the wood on this Guyatone model is outstanding. We don’t often see Guyatone-branded guitars here in the U.S., but a lot of players recognize the early ’60s label Kent—a brand name used by an American importer for Guyatone guitars.
With a bit of imagination, the LG-180T’s “thumbs up” headstock seems to be looking for a roadside ride.
Kent guitars were extremely popular from the early ’60s until around 1966. The U.S. importer B&J fed the American need for electric guitars with several nice Kent models, but when the Guyatone contract ended, so did most of the Kent guitars. After that, Guyatone primarily sold guitars in Japan, so this example is a rare model in the U.S.
“Unless you are a master at guitar setups, this would be a difficult player.”
This headstock is either the ugliest or the coolest of the Guyatone designs. I can’t decide which. I will say, no other Japanese guitar company ever put out anything like this. You have to give the Guyatone designers a thumbs up for trying to stand out in the crowd! Guyatone decided to forgo an adjustable truss rod in this model, opting instead for a light alloy non-adjustable core to reinforce the neck. Speaking of the neck, this instrument features the most odd-feeling neck. It’s very thin but has a deep shoulder (if that makes any sense). Totally strange!
Another strange feature is the bridge, which offers very little adjustment because of the three large saddles, which sort of rock back and forth with the tremolo. It’s a shame because these pickups sound great! They’re very crisp and have plenty of zing, but unless you are a master at guitar set-ups, this would be a difficult player.
This could be why the LG-180T only appeared in the 1966 and 1967 catalogs. After that, it disappeared along with all the other Yamaha-made Guyatone electrics. By 1969, Guyatone had gone bankrupt for the first time, and thus ended guitar production for a few decades. At least we were blessed with some wacky guitar designs we can marvel at while remembering the days when you could play in the back end of an explosive 1973 AMC Gremlin while your mom raced around town. Two thumbs up for surviving our childhoods! PG
