PG's Joe Coffey is On Location at the 2009 New York Amp Show where he visits the Fuchs Audio Technology booth. In this video segment, we get hear three of Fuchs' newest pedals; Noxious, Tri-Modulator and Verbrator. The Noxious is Black Label Society's Nick Catanese's signature distortion pedal. It includes a fully-adjustable input gain control, amp-like fully interactive Bass, Middle and Treble tone controls and a Master Volume, which is designed not to suck tone. With a low-noise input circuit based on Fuchs' Pure Gain pedal, and an output section that is like a miniature power amplifier, the Noxious can go from a mild to wild overdrive with no problem. The Tri-Modulator is an chorus, flanger and tremolo pedal built in one small package. The Verbrator is a new multi-purpose pedal that combines an all-tube effects loop with a studio grade reverb featuring a 32-Khz clock speed for full 16-K audio bandwidth. Not only is it a reverb pedal, but it's an effects loop. It features a level control and decay control allowing you to have a short medium or long decay reverb algorithm.



PG's Joe Coffey is On Location at the 2009 New York Amp Show where he visits the Fuchs Audio Technology booth. In this video segment, we get hear three of Fuchs' newest pedals; Noxious, Tri-Modulator and Verbrator. The Noxious is Black Label Society's Nick Catanese's signature distortion pedal. It includes a fully-adjustable input gain control, amp-like fully interactive Bass, Middle and Treble tone controls and a Master Volume, which is designed not to suck tone. With a low-noise input circuit based on Fuchs' Pure Gain pedal, and an output section that is like a miniature power amplifier, the Noxious can go from a mild to wild overdrive with no problem.

The Tri-Modulator is an chorus, flanger and tremolo pedal built in one small package.

The Verbrator is a new multi-purpose pedal that combines an all-tube effects loop with a studio grade reverb featuring a 32-Khz clock speed for full 16-K audio bandwidth. Not only is it a reverb pedal, but it's an effects loop. It features a level control and decay control allowing you to have a short medium or long decay reverb algorithm.

Plus, the Fontaines D.C. axeman explains why he’s reticent to fix the microphonic pickup in his ’66 Fender Coronado.

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The emotional wallop of the acoustic guitar sometimes flies under the radar. Even if you mostly play electric, here are some things to consider about unplugging.

I have a love-hate relationship with acoustic guitars. My infatuation with the 6-string really blasted off with the Ventures. That’s the sound I wanted, and the way to get it was powered by electricity. Before I’d even held a guitar, I knew I wanted a Mosrite, which I was sure was made of fiberglass like the surfboards the Beach Boys, Surfaris, and the Challengers rode in their off time. Bristling with space-age switchgear and chrome-plated hardware, those solidbody hotrod guitars were the fighter jets of my musical dreams. I didn’t even know what those old-timey round-hole guitars were called. As the singing cowboys Roy Rogers and Gene Autrey strummed off into the sunset, the pace of technology pushed the look and sound of the electric guitar (and bass) into the limelight and into my heart. Imagine my disappointment when I had to begin my guitar tutelage on a rented Gibson “student” acoustic. At least it sort of looked like the ones the Beatles occasionally played. Even so, I couldn’t wait to trade it in.

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Need an affordable distortion pedal? Look no further.

We live in the golden age of boutique pedals that are loaded with advanced features—many of which were nearly unthinkable a decade or so ago. But there’s something that will always be valuable about a rock-solid dirt box that won’t break your wallet. Here’s a collection of old classics and newly designed stomps that cost less than an average concert ticket.

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