
Epiphone, the leading accessible guitar brand For Every Stage, has announced the new Epiphone Slash Collection will officially debut worldwide July 20, 2021 on www.epiphone.com. Crossing three decades of collaborative partnership between Gibson and Epiphone luthiers and the iconic guitarist Slash, the all-new Epiphone Slash Collection features multiple acoustic and electric guitars and follows his history-making Gibson Slash Collection released last year. In a first for the brand, every guitar in the new Epiphone Slash Collection, as well as the Gibson Slash Collection is an evergreen artist collection with fourteen guitars in production.
"I'm really proud to present this great line up of excellent quality, signature Epiphone guitars," says Slash. "They sound & look fantastic. It's all I could ask for." A part of the Epiphone Inspired by Gibson Collection, the all-new Epiphone Slash Collection celebrates the influential guitars Slash has used throughout his storied music career which continues to inspire multiple generations of players around the world. Perfect for every stage, players of all levels, and accessible, the full collection includes the Epiphone Slash Les Paulā¢ Standard finished in Appetite Burst, November Burst, Anaconda Burst and Vermillion Burst, the Slash "Victoria" Les Paul Standard Goldtop in Gold, and on the acoustic front, the Epiphone Slash J-45 in Vermillion Burst and November Burst. Exclusive to every guitar in the entire Epiphone Slash Collection are Slash's "Skully" signature drawing on the back of the headstock, Slash's signature on the truss rod cover, and a custom hardshell case with Slash's "Skully" logo included.
Slash Epiphone Collection
Each Epiphone Slash Collection Les Paul Standard features a mahogany body, maple cap with AAA flame maple veneer, a Graph Tech nut, Epiphone LockTone Tune-O-Matic bridge and Stop Bar tailpiece, and Slash's personal touches including a C-shape neck profile, Epiphone Custom ProBucker pickups, color coordinated hardware appointments, CTS potentiometers with Orange Drop capacitors and Epiphone Strap Locks. The Slash Epiphone Les Paul Standard is finished in in Appetite Burst, November Burst, Anaconda Burst and Vermillion Burst.
Each Epiphone Slash Collection J-45 acoustic guitar features all solid wood construction with solid mahogany back and sides, a solid Sitka spruce top with vintage-style (or 50's style) pickguard, Grover Rotomatic tuners, Graph Tech TUSQ nut and saddle, and Slash's personal touches including a C-shape neck profile, a flatter, more modern 16" fretboard radius, and an LR Baggs VTC preamp and under-saddle pickup for a natural acoustic sound when plugged in. the Epiphone Slash J-45 is finished in Vermillion Burst and November Burst.
Each Slash Victoria Les Paul Standard Goldtop guitar features a mahogany body with a maple cap, a Graph Tech nut, Epiphone LockTone Tune-O-Matic bridge and Stop Bar tailpiece, and Slash's personal touches including a C-shape neck profile, Epiphone Custom ProBucker pickups, color-coordinated hardware appointments, CTS potentiometers with Orange Drop capacitors and Epiphone Strap Locks.
"We are in a very exciting journey with Slash and today we are announcing the amplification of our collaboration with the launch of the Epiphone Slash Collection," says Cesar Gueikian, Brand President, Gibson Brands. "Our new Epiphone Slash Collection brings our collaboration with Slash to the next level, expanding the offering of the iconic Slash models to Epiphone with an accessible price point. Slash was intimately involved in every aspect of the development of his new Epiphone Collection, and we are all excited to see his fans around the world rock out with them!"
For more information:
Epiphone
- Epiphone Releases Limited-Edition Slash Signature Models ... āŗ
- Limited Slash Signature Series from Gibson and Epiphone - Premier ... āŗ
- New Slash Signature Epiphone Les Paul - Premier Guitar āŗ
Small spring, big splashāa pedal reverb that oozes surfy ambience and authenticity.
A vintage-cool sonic alternative to bigger tube-driven tanks and digital springs that emulate them.
Susceptible to vibration.
$199
Danelectro Spring King Junior
danelectro.com
Few pedal effects were transformed, enhanced, and reimagined by fast digital processors quite like reverb. This humble effectāreadily available in your local parking garage or empty basketball gymnasium for freeāevolved from organic sound phenomena to a very unnatural one. But while digital processing yields excellent reverb sounds of every type and style, Iād argue that the humble spring reverb still rules in its mechanical form.
Danelectroās Spring King Junior, an evolution of the companyās Spring King from the āaughts, is as mechanical as they come. It doesnāt feature a dwell control or the huge, haunted personality of a Fender Reverb unit. But the Spring King Junior has a vintage accent and personality and doesnāt cost as much as a whole amplifier like a Fender Reverb or reverb-equipped combo does. But itās easy to imagine making awesome records and setting deep stage moods with this unit, especially if 1950s and 1960s atmospheres are the aim.
Looking Past Little
Size factors significantly into the way a spring reverb sounds. And while certain small spring tanks sound coolāthe Roland RE-201 Space Echoās small spring reverb for oneāitās plain hard to reproduce the clank and splash from a 17" Fender tank with springs a fraction of that length. Using three springs less than 3 1/2" long, the Accutronics/Belton BMN3AB3E module that powers the Spring King Junior is probably not what you want in a knife fight with Dick Dale. Even so, it imparts real character that splits the difference between lo-fi and garage-y and long-tank expansiveness.
In very practical and objective terms, the Danelectro canāt approach a Fender Reverbās size and cavernousness. Matching the intensity of the Spring King Juniorās maximum reverb and tone settings to my own Fender Reverbās means keeping dwell, mix, and tone controls between 25 to 30 percent of their max. Depending on your tastes, that might be a useful limitation. If youāve used a Fender Reverb unit before, you know they can sound fantastically extreme. Itās overkill for a lot of folks, and the Spring King Junior inhabits spaces that donāt overpower a guitar or amplifierās essence. Many players will find the Spring King Junior simply easier to manage and control.
There are ways to add size to the Spring King Juniorās output. An upstream, edgy clean boost will do much to puff up the Danelectroās profile next to a Fender. The approach comes with risk: Too much drive excites certain frequencies to the point of feedback. But the Juniorās mellower sounds are abundant and interesting. Darker reverb tones sound awesome, and combined with modest reverb mixes they add a spooky aura to melancholy soul and spartan semi-hollow jazz phrasingsāall in shades mostly distinct from Fender units.
Watch Your Step!
Spring reverbs come with operational challenges that you wonāt experience in a digital emulation. And though the Spring King Junior is well built, its relative slightness compounds some of those challenges. The spring module, for instance, is affixed to the Spring King Juniorās back panel with two pieces of foam tape. And while kicking a spring reverb to punctuate a dub mix or surf epic is a gas, the Spring King Junior can be susceptible to less intentional applications of this effect. At extra-loud volumes, the unit picks up vibrations from the amplifierās output when amp and effect are in tight proximity. And sometimes, merely clicking the bypass switch elicits an echo-y āclankā. This doesnāt happen in every performance setting. But itās worth considering settings where youāll use the Spring King Junior and how loud and vibration-resistant those spaces will be.
Though the Spring King Juniorās size makes it susceptible to vibration, many related ghost tonesātaken in the right measureāare a cool and essential part of its voice. Itās an idiosyncratic effect, so evaluating its compatibility with specific instruments, amps, studio environments, and performance settings is a good idea. But for those that do find a place for the Spring King Junior, its combination of tone color, compact size, and hazy 1960s ambience could be a deep well of inspiration.
Blackstar Amplification unveils its new AIRWIRE i58 wireless instrument system for guitar and bass.
The AIRWIRE i58 enables wireless connection for guitars, basses and other musical instruments with Ā¼ā audio outputs and delivers low noise and less dropouts. The majority of wireless systems on the market operate within the 2.4 GHz range whereas the AIRWIRE i58 operates within the 5.8 GHz which is a less crowded frequency band that is immune to WiFi interference.
The AIRWIRE i58 also has an optimised antenna design and anti-interference algorithm ā this gives players a robust, reliable and most importantly worry-free performance. The low latency and accurate frequency response ensures authentic tone and feel without the need for cables.
Never worry about running out of battery or losing your signal; AIRWIRE i58 offers up to 9 hours play time at full charge and features a transmission distance of 35 metres. Up to four AIRWIRE i58s can be used simultaneously for a full band setup without interference.
AIRWIRE i58 offers wireless high-res signal transfer, so there is no treble loss which can occur when using a long cable. However, the system offers a switchable CABLE TONE feature to simulate the tonal effects of a traditional instrument cable if players desire that sound.
AIRWIRE i58 is the ideal wireless system for every musician ā for cable-clutter-free home use or freely roaming on stage.
AIRWIRE i58 Wireless Instrument System
- Wireless Instrument System
- Frequency Band: 5.8GHz
- Transmission Channels: 4 independent channels
- Transmission Distance: Up to 35 metres (100 feet)
- Latency: <6ms
- Frequency Response: 20Hz~20kHz
- Output Impedance: 1kĪ©m
- Connectors: Ā¼ā mono
- Power: Rechargeable lithium-ion battery
- Charging: USB-C 5V input (cable included)
- Charging Time: <2.5 hours
- Operation Time: 9 hours when fully charged
- Illuminated star logo
- Dimensions: L 67.0mm, W 37.2mm, H 20.5mm
- Weight: 45g (each transmitter or receiver, single unit)
Blackstarās AIRWIRE i58 carries a street price of $169.99.
PGāsJohn Bohlinger caught up with Moak at his Nashville studio known affectionately as the Smoakstack.
Grammy-nominated session guitarist, producer, mixer, and engineer Paul Moak stays busy on multiple fronts. Over the years heās written, played, produced and more for TV sessions (Pretty Little Liars, One Tree Hill) and artists including Third Day, Leeland, and the Blind Boys of Alabama. But most recently heās worked with Heart and Ann Wilson and Tripsitter.
Time Traveler
Moak is most loyal to a 1963 Stratocaster body thatās mated to a 1980s-vintage, 3-bolt, maple, bullet-truss-rod, 1969-style Fender Japan neck. The bridge has been swapped as many as four times and the bridge and neck pickups are Lindy Fralins.
Cool Cat
If thereās one guitar Moak would grab in a fire, itās the Jaguar heās had since age 20 and used in his band DC Talk. When Moak bought the guitar at Music Go Round in Minneapolis, the olympic white finish was almost perfect. He remains impressed with the breadth of tones. He likes the low-output single-coils for use with more expansive reverb effects.
Mystery Message Les Paul
Moakās 1970 L.P. Custom has a number of 1969 parts. It was traded to Moak by the band Feel. Interestingly, the back is carved with the words ācheatā and āliar,ā telling a tale we can only speculate about.
Dad Rocker
Almost equally near and dear to Moakās heart is this 1968 Vox Folk Twelve that belonged to his father. It has the original magnetic pickup at the neck as well as a piezo installed by Moak.
Flexi Plexis
This rare and precious trio of plexis can be routed in mix-and-match fashion to any of Moakās extensive selection of cabsāall of which are miked and ready to roll.
Vintage Voices
Moakās amps skew British, but ā60s Fender tone is here in plentitude courtesy of a blonde-and-oxblood Bassman and 1965 Bandmaster as well as a 2x6L6 Slivertone 1484 Twin Twelve.
Guess What?
The H-Zog, which is the second version of Canadian amp builder Garnetās Herzog tube-driven overdrive, can work as an overdrive or an amp head, but itās probably most famous for Randy Bachmanās fuzzy-as-heck āAmerican Womanā tone.
Stomp Staff
While the Eventide H90 that helps anchor Moakās pedalboard can handle the job of many pedals, he may have more amp heads on hand than stompboxes. But essentials include a JHS Pulp āNā Peel compressor/preamp, a DigiTech Whammy II, DigiTech FreqOut natural feedback generator, a Pete Cornish SS-3 drive, Klon Centaur, and Electro-Harmonix Deluxe Memory Man.
PG Contributor Tom Butwin dives into three standout baritone guitars, each with its own approach to low-end power and playability. From PRS, Reverend, and Airline, these guitars offer different scale lengths, pickup configurations, and unique tonal options. Which one fits your style best? Watch and find out!