October 8, 2018, Vancouver, BC – Radial Engineering is pleased to announce that Craig “Hutch” Hutchison has joined the company as a Senior Design Engineer. In this role, Hutch will be working with the engineering team and product management to develop the next generation of Radial Engineering products.
"Like many working professionals, Radial has been on my radar for over 20 years." says Hutch. "I’ve always respected the products and their quality. I took special interest in the company when I heard about the Key-Largo keyboard mixer and the new leadership of Mike Belitz. The company is propelling forward and I’m excited to be working with new products that leverage the latest technology while meeting the needs of professionals."
Hutch joins Radial Engineering with over twenty years of audio design experience. He began his career as a FOH mix engineer for the Guess Who and Burton Cummings. He later moved on to the Chief Engineer position at the world-famous Electric Lady Studios in New York. Eventually he found his way to Manley Labs, where he became the chief designer responsible for legendary products such as the Massive Passive EQ, Variable MU, SLAM!, VoxBox and more. After several years at Manley, Hutch was called upon by Rupert Neve to join the team at RND, where he spent 5 years working under Rupert on a variety of products. He has also consulted and designed for several other companies including Fredenstein, Adamson, SSL, A-Designs, Waves, and BAE.
The products that Hutch has designed in full or substantially contributed to have won over fifteen TEC awards with over twenty nominations. He is recognized as one of the world’s leading audio circuit designers.
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Love Is Not Enough— the forthcoming new album from Converge— might be the apotheosis of the band's decades-long journey through the punk, hardcore and metal microcosm. What vocalist/lyricist Jacob Bannon, guitarist/producer Kurt Ballou, bassist/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge.
There isn’t an ounce of fat on the album. Every song moves with a power and purpose that eclipses their human origins, that speaks to the anger, pain, and frustration of the modern age. From the opening fusillade of the title track to the closing hurricane of “We Were Never the Same,” which premieres today, Love Is Not Enough is a sonorous balance of vitality and viciousness that reflects the chaos and uncertainty of the times we live in. Jacob Bannon comments on the track: "I wrote these words in the parking lot of a funeral home while reflecting on loss. Why do we gather to mourn but not to cherish? It's an honest question that exposes our collective distractions and shortcomings. Grief brings clarity— We all must do better."
For more than three decades, Converge have delivered musical and emotional catharsis, putting purpose before perception and intent before interpretation. Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration, Converge have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination.
Love Is Not Enough was recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Jacob Bannon did the artwork and design, creating an image for each song and a commanding cover depicting a celestial witness to a world aflame. “We still identify this band as the outlet that’s essential to our lives,” Bannon says. “We give everything we have to it. Being past your average middle age, we’re starting to see deeper than before into a variety of places. And I don’t think that’s specific to us. I think that’s something that’s utterly relatable.”
Pre-order Love Is Not Enoughhere and look for more news soon.
Kiesel Guitars has introduced the newest model in the company’s iconic line of custom-built instruments: the Aero now joins the lineup of Kiesel’s premium US-made instruments.
Designed to excel in a variety of musical styles, the versatile Aero is available in a 6-string configuration. Key features include:
Body Woods: Alder, Black Limba, Mahogany, Swamp Ash, Walnut, 1-Piece Swamp Ash, Roasted 1-Piece Swamp Ash
24 fret neck, 25.5” scale length, available with these fretboard materials: Ziricote, Ebony, Royal Ebony, Richlite Black Diamond, Richlite Maple Valley, Zebrawood, Rosewood, Birdseye Maple, Flamed Maple, Maple, Roasted Birdseye Maple, Roasted Flamed Maple, Roasted Maple, Palemoon Ebony
Electronics available in HH and HSS pickup configurations
Aero headstock, slotted pickguard, double output jack configuration
See the Aero demo video: https://www.youtube.com/watch?v=Ui3ZVtAsGMY
Like other Kiesel models, the new Aero is available in a wide range of options for unique customization. Players can select their favorite finish, tonewoods, electronics, and hardware to create the guitar of their dreams…expertly crafted in Kiesel’s Southern California custom shop.
Kiesel’s new Aero is available for street pricing starting at $1,849. For more information, visit kieselguitars.com.
The versatile, venerable guitar star sits down with PG contributor Nikos Arvanitis to discuss his thoughts on why streaming is for kids, the impacts of AI on music, how home studios dilute albums, reducing the PRS McCarty to its core, and what's on the horizon.
VOX announces the VFZ-1 Fuzz, a new compact effect pedal available now through retailers and online worldwide. Designed to deliver the unmistakable character of one of the most influential late-1960s two-transistor fuzz circuits, commonly associated with the celebrated Mk 1.5 design, the VFZ-1 answers today’s players’ need for expressive vintage tone while solving the noise, inconsistency, and temperature sensitivity that have long challenged traditional Germanium-based fuzz pedals. Through meticulous engineering and precise transistor biasing, VOX has created a modern Silicon-driven interpretation that preserves the warmth, harmonic richness, and musical responsiveness of classic fuzz, only now with exceptional reliability, stability, and ease of integration into contemporary pedalboards.
VOX engineers began by studying prized original examples, finding not only their tonal qualities but also the nuanced way their transistors interact. Instead of relying on Germanium, the VFZ-1 employs two carefully selected silicon transistors, each precisely biased to replicate the musical response of the originals while keeping consistent performance in any environment. This approach gives the VFZ-1 the smooth compression, organic breakup, and expressive sustain associated with overdriven vintage valve amplifiers, but with drastically reduced noise and a significantly wider sweet spot than vintage units traditionally allow.
A key breakthrough in the VFZ-1 is its unusually high input impedance for a vintage-style fuzz. The first transistor stage has been designed to preserve the natural harmonics of the guitar signal while staying fully compatible with buffered pedals and Wah effects—situations that would normally compromise classic fuzz behavior. This allows players to place the VFZ-1 anywhere in their signal chain without sacrificing tone, immediately eliminating one of the most persistent frustrations of earlier designs. The second transistor stage then shapes and refines the fuzz character, delivering an articulate yet saturated voice that responds dynamically to picking intensity and guitar volume, while staying controlled, musical, and remarkably quiet.
To support modern performance demands, VOX expanded the tonal versatility of the classic circuit rather than altering its fundamental character. The primary Fuzz control sets the core voice, after which the VFZ-1 provides added tonal refinement without straying from its authentic sonic foundation. A Bass Cut control allows players to manage how much low end enters the gain stages, making it ideal for balancing humbuckers, cleaning up neck pickup tones, or tightening rhythm textures. A Tone Cut control then shapes the high-frequency response at the output, allowing everything from smooth, violin-like sustain to brighter, cutting articulation while maintaining clarity and presence. For players who love the lower-gain character that vintage fuzzes produce when the guitar’s volume is rolled back, the VFZ-1 introduces a dedicated Crunch switch, instantly offering those expressive overdrive-like textures without requiring any change at the instrument itself.
The VFZ-1 embodies the spirit of early two-transistor fuzz pedals by capturing their mid-forward presence, liquid sustain, and touch sensitivity, but refines the experience with rock-solid stability, exceptionally low noise, and pedalboard-friendly modern power compatibility. Its rugged, compact enclosure reflects the toughness needed for contemporary gigs and studios while honoring the unmistakable aesthetic heritage associated with vintage fuzz.
By faithfully preserving the emotional impact, musical feel, and unmistakable character of late-60s fuzz while removing the inconsistency, fragility, and environmental unpredictability of original units, VOX has created a pedal that delivers legendary tone in a form that finally meets modern standards of performance and reliability. The VFZ-1 brings iconic fuzz within reach—consistent, expressive, and ready for any stage or studio.
For more information on the VOX VFZ-1 Fuzz and the full range of VOX products, please visit NAMM Booth #6802 or online at www.voxamps.com.
Silvertone has reintroduced the iconic 1446 semi-hollow electric – one of the most recognizable guitar models in rock history.
Played by artists Chris Isaak, Elvis Costello, Hubert Sumlin and more, the Silvertone 1446 is now available for the first time in decades, and that sound - and that guitar - can be yours.
Originally sold through the Sears catalog from 1961 to 1967, the Silvertone 1446 holds a special place in electric-guitar history. Over the last 60 years it has become one of the most sought-after models among recording artists and collectors.
Now Silvertone has reintroduced the 1446—meticulously recreated with modern performance features while honoring every detail that made the original a legend.
A Classic Reborn for the Modern Player
The new Silvertone 1446 delivers enhanced playability and tonal versatility while maintaining its iconic silhouette. The original “2×4 lumber” neck profile has been re-engineered into a comfortable modern-taper soft-C shape. A chambered center-block maple body improves sustain, reduces feedback, and opens up the guitar’s dynamic range—perfect for the demands of today’s stages and studios.
Two versions of the 1446 are available. The 1446V, available in Black finish, features a genuine Bigsby® B70 vibrato tailpiece that works seamlessly with a Tune-o-matic style bridge featuring roller saddles for exceptional tuning stability. The 1446T, available in Black or Tobacco Sunburst finish, features a ‘Trapeze’ tailpiece. The guitar’s 24 ¾” scale mahogany neck and rosewood fingerboard feature state-of-the-art “Semi-Hemispherical” frets for an ultra-smooth playing feel.
Vintage Mojo, Recreated with Precision
One of the most revered elements of the original 1446 was its pickups—mini humbuckers designed by Seth Lover and manufactured exclusively for Silvertone. Known as the P19, these rare pickups had a unique 3+3 pole-piece design and a distinct, lower-wind voice.
To recreate this sonic magic, Silvertone collaborated with renowned designer Trev Wilkinson. His new Wilkinson “R Series” mini-humbuckers are exacting, era-specific recreations featuring custom tooling, period-correct Alnico V magnets, and carefully matched winding. The result: the unmistakable clarity and warmth that made the 1446 famous.
“When you pick up this guitar, you immediately understand why the original became such a cult classic” says Silvertone Product Manager, Rick Taylor. “We set out to deliver the soul of the ‘60s 1446, but with the playability and reliability modern musicians expect. The new 1446 gives you inspiration from the moment you plug in.”
The Silvertone 1446VBK with the Bigsby vibrato tailpiece carries a street price of $999. The two 1446T models with the Trapeze tailpiece are priced at $799.
