Xvive's P58 Guitar Wireless System features a True Diversity Receiver with a built-in chromatic tuner, True Bypass and Buffered Bypass settings, and a USB-C port for charging. With 5.8 GHz signal stability, 100 feet of wireless range, and low latency, this system is a game-changer for musicians.
Xvive continue to expand their wireless product line, now introducing the P58 Guitar Wireless System, which combines the A58T Transmitter with a combination True Diversity Receiver and chromatic tuner pedal. The Transmitter is borrowed from the A58 Guitar Wireless System, known for its 5.8 GHz signal stability and active/passive modes. But the P58R Receiver adds further functionality, most obviously acting as a high-precision chromatic tuner.
In addition to its key receiving and tuning roles, the P58R Receiver offers both True Bypass and Buffered Bypass settings that help to optimize your signal. Buffered Bypass offsets the deterioration of your high-end when you’re using long cable runs or extra-large pedalboards. True Bypass mode ensures that the tuner doesn’t color your tone or load the signal when bypassed. Since the Receiver is connected to power all the time during use, it’s well-positioned to pass on some of that power to the Transmitter via its USB-C port, for charging between sets as needed! The Transmitter’s onboard battery lasts up to five hours.
Xvive Combines 5.8 GHz Guitar Wireless with a Multi-FeaturedChromatic Tuner
The 5.8 GHz band is typically less crowded than 2.4 GHz, since fewer devices use 5.8 GHz; that translates to a lower chance of signal interference. On top of that, the True Diversity Receiver allows you to scan the six available wireless channels and automatically select the strongest, most stable option—further ensuring rock-solid connections.
The A58T Transmitter offers both Active and Passive modes; the Active setting applies a – 10dB pad that prevents unwanted distortion and clipping when you’re playing a guitar or bass with active or high-output pickups. The P58 system boasts 100 feet of wireless range, less than 5 ms of latency, high-resolution 24-bit / 48 kHz audio, and a signal-to-noise ratio of 100 dB.
The P58 Guitar Wireless System is available from all Xvive dealers and online retailers for$249.99 (US MAP). The P58R Receiver/Tuner (which can only be paired with the A58T) isavailable separately for $169.99 (US MAP). The A58T (which can be paired with the A58R orP58R Receivers) sells for $85.00 (US MAP).
Whether or not Jimi Hendrix actually played this guitar might come down to how lucky its buyer feels.
Photo courtesy of Imperial Vintage Guitars Reverb Shop
Imagine you’re a well-heeled guitar collector. A dealer pops open a case to reveal this stunning beauty of a 1968 Gibson SG Custom. Its aura is world-historically cool. It must be something special. “Is that,” you think, “an original Pelham blue finish? A factory Bigsby?”
You can hardly contain yourself as it is. The gold hardware has a patina befitting its age. The period-correct nylon saddles are in great shape (“A few have been replaced? No big deal”). And then, the dealer says, “You know, there’s exactly a 50 percent chance that Jimi Hendrix played this.” Well, as Dirty Harry said, “You've gotta ask yourself a question: ‘Do I feel lucky?’”
Such is the dilemma for wealthy guitarists around the world, especially, we can imagine, the left-handed ones.
Because this ’68 SG Custom—or its twin sibling, the second of only two ever built with these same specs—has been traced back to a legendary jam session with Jimi Hendrix, B.B. King, and Elvin Bishop. And it’s recently been unearthed and listed for sale by Reverb seller Imperial Vintage Guitars for the sum of $395,000, with as much evidence of its provenance as possible.
There are photographs that show Jimi playing such a guitar that night. The late photographer’s brother has written a letter about the photographer’s career, his relationship with the guitarist, and original prints of that fateful jam.
And Matt Koehler—Gibson’s vice president of product and one of the company’s most avid, archive-diving history buffs—has signed a letter confirming that this is one of two never-replicated, left-handed, Bigsby-equipped, Pelham blue SG Customs that Gibson ever built in this period.
Shipped out within a few days of each other in May 1968, Koehler writes, “The two guitars were definitely related, and this combination of features does not appear anywhere else in our ledger books.”
This lefty SG Custom was one of just two ever produced with these particular specs.
Photo courtesy of Imperial Vintage Guitars Reverb Shop
So, what does that mean to the would-be buyer? If it were a hand of poker, we could call this ultra-rare vintage Gibson a flush, no matter what becomes of the extra provenance. As Imperial Vintage Guitars writes in its listing, “643 Les Paul Standards were made in 1959. Only two of these SGs were ever made, period. This guitar may not be as popular as a 1959 Les Paul, but it’s certainly more rare!”
If it’s the one Hendrix played, that makes it a whole lot rarer yet. That turns our flush into a royal flush.
Let’s step back and assess the guitar in front of us: It is, of course, a three-humbucker SG Custom. Those humbuckers, given the year, are not Patent-Applied For (PAF) pickups, but Patent No. instead.
They’re embedded in the middle of a batwing pickguard (which, as the evolution of the angel wing design, debuted in 1966). The larger batwing allowed Gibson to drop the independent pickup rings and tenon cover found on earlier models.
Looking up the neck, you’ll see large, block mother-of-pearl inlays and the diamond headstock inlay that helped these SG Custom models stand out from their more affordable SG Standard counterparts. Turn it around and it does not have the peak of a neck volute found on models from the very late ’60s and early ’70s.
Whether or not Jimi Hendrix actually played this guitar might come down to how lucky its buyer feels.Photo courtesy of Imperial Vintage Guitars Reverb Shop
“This ’68 SG Custom—or its twin sibling, the second of only two ever built with these same specs—has been traced back to a legendary jam session with Jimi Hendrix, B.B. King, and Elvin Bishop.”
Add to this the aforementioned factory Bigsby, custom finish, and left-handed build, and you’ve got yourself a truly one-of-a-kind guitar. Or, rather, two-of-a-kind. Which is quite the conundrum when it comes to valuing the guitar.
On one hand, 1960s SG Customs are all valuable. These were high-end models created during the Golden Age of Gibson, after all. (In ’68, this special order would have been a bit north of production-model SG Customs, which went for $495.) But while more rare than the burst-year Les Paul Standards, they haven’t appreciated anywhere near as much in value.
No ’60s SG Custom with such rare features or historic provenance has ever sold on Reverb. What we do know is that the more standard-fare of this classically tony line will go between $7,000 and $25,000. How much more valuable is a one- or two-off custom combination of specs? Well, “more,” would certainly be a fair answer.
But there’s an order of magnitude of difference between this and the territory reserved by original bursts (which can easily fetch half a million or more), or, for that matter, the larger-than-life sums paid in recent years for celebrity-played guitars, like Kurt Cobain’s “Unplugged” Martin D-18 ($6 million) or his “Smells Like Teen Spirit” Mustang ($4.55 million), Eddie Van Halen’s “Hot For Teacher” Kramer, or David Gilmour’s Black Strat ($3.9 million).
In this context, the $395,000 asking price almost splits the difference between a “regular” SG Custom of its era and a guitar owned by a world-renowned artist. So the question of whether Jimi Hendrix actually played this SG or not becomes incredibly relevant, one way or another.
So, well-heeled collector, ask yourself again: “Do I feel lucky?” Well, do ya punk?
Sources: American Guitars: An Illustrated History by Tom Wheeler, Gruhn's Guide to Vintage Guitars, Reverb's "The 5 Most Expensive Guitars Ever Sold" article, Reverb Price Guide sales data, SG Wiki.
KMA Machines GEMINUS is a compact pedal featuring True Double Tracker technology for adding width and fatness to your performances. With stereo or mono connections, flexible signal routing, and precise controls, GEMINUS is the perfect solution for doubling your riffs. Experience the best sounding doubler with ease of use.
The first outing for KMA’s unique and custom AI driven True Double Tracker technology was in the ENDGAME, our powerhouse end-of-chain pedal. We designed our dead-simple-to-use, TDT Algorithm in ENDGAME to be as authentic to the doubling recording process as possible, but we realise that not everybody needs all the bells and whistles of such an all-encompassing device. However, the processing power requirements required for TDT meant a simpler device wasn’t yet possible. But as demand from the community grew, our team worked hard to squeeze it down and make it happen.
So, meet GEMINUS - all of KMA’s True Double Tracker goodness in a compact pedal that’s suitable for any board. Whether playing live or recording with a single instrument, GEMINUS is the perfect solution for adding “fatness” and “width” to your performances - it really does feel like you are playing the same riff twice!
Width Knob, provides control over the stereo field
Stereo or Mono connections on TRS jacks
Flexible signal routing (selectable Stereo or Mono In/Out)
Time, Pitch and Level controls, for precise TDT tailoring
Compact enclosure with top-mounted jacks - will fit into any setup
Switchable True/Buffered Bypass*
‘Silent’ relay-based soft switching
Premium analog electronics• 32 Bit internal processing
Powered by (opt.) 9 V DC PSU (centre -, 2.1mm, ~ 100 mA current draw, not included)
Enabled via the soft bypass footswitch, GEMINUS accurately replicates the minor differences that exist between two separate recordings. The TDT WIDTH control spreads your doubled tracks, anywhere from completely centred (0%) to 50% left and right (centre indent) and 100% left and right split.
KMA has carried out extensive research on how to make double tracking sound exactly how we think it should perform. In the process, we’ve spent thousands of engineering hours working on our own proprietary technology, even developing our own custom neural network AI with onset detection in the process for our algorithms.
The mode for the TRS input and output jacks is selected by the toggle switch. You can choose between stereo in and out, mono in and stereo out or mono in to mono out, so no matter your signal and tonal desires, GEMINUS will fit into your rig with ease.
For the most accurate performance (and just like the real double tracking scenario in the studio), our custom True Double Tracker algorithm should ideally be fed with a mono signal. Obviously if you are trying to emulate what traditionally happens in the studio, you wouldn’t normally double up a stereo source. Having said that, our TDT algorithm has been optimised to still have a useful and very pleasing widening effect on stereo input signals, just take care that using too much doubling on some stereo sources may cause your carefully crafted reverb, delay or other modulation effects to turn to mush or even add phase issues.
To help tailor the Doubling to your own taste, the TIME control changes the timing range of the doubled AI-driven onset detection. Essentially, it’s all about the tightness of the doubled signal to fit differing playing styles. Variable from an extra tight mode, that’s perfect for extra fast riffs, to a looser timing that can just the right amount of density to more open playing styles, this control is a powerful weapon to make your riffs fit your musical goals. The centre detent is GEMINUS’ default factory position, but turning the knob left will give a tighter feel. Crank the knob to the right and the doubled signal becomes much more relaxed.
While the LEVEL control affects the balance of the doubled signal against the original source. Useful for those times where you might want maximum width, but a little less (or even more) of the sound to be doubled against the original. Centre detent of the knob is GEMINUS’ default factory position. There’s some clever panning stuff going on under the hood here too, so neither the doubled or original signal is louder on one side or the other, when in Stereo.
Finally, the new PITCH selector switch can add some additional movement to your doubled signal, extending the usefulness of GEMINUS beyond standard doubling. When the switch is at the centre default position (-) there is no pitch adjustment, (~) adds some subtle modulation, while (≈) adds even more wobble. In this mode, it doesn’t mean that your second guitarist will sound like they are off on a quest for enlightenment all on their own (!), it is just super handy for those times when you want more chaos and instability in your ensemble.
To top it all off, we’ve added a switchable real True/Buffered bypass and ‘silent’ relay-based soft switching. When we were testing our new pedal platform, we really loved the clarity and signal integrity of KMA’s Buffered Bypass, plus there are zero clicks and pops when switching in this mode, which is why it is the recommended and default mode on shipping. However, we know some players have some special devices like extra fussy vintage fuzz pedals and the like, so we added the ability to select True Bypass mode via an internal dip switch (*see the Quick Start Guide for more details).
Phew, seems that there’s quite a lot going inside GEMINUS then. We believe our True Double-Tracker in this pedal is the best sounding, yet easiest to use doubler you’ll ever play - period.
For years, the studio monitor has been the holy grail of mixing setups—treated rooms, perfectly placed monitors, and that elusive sweet spot. But what happens when you're on the move, working from home, or simply don’t have access to a tuned room? This is where high-quality headphones not only come in handy—they can be powerful mainstays in your workflow. Fortunately, we’re living in a golden age of headphone technology, where top-tier listening experiences are no longer tied to physical speaker systems or acoustically perfect environments.
There are several core benefits to working with headphones—especially when it comes to critical listening, portability, and budget efficiency.
Forensic Detail
One of the first things you'll notice when you start mixing on high-quality headphones is how much easier it is to hear subtle problems in your mix. Low-end muddiness, harsh sibilance, resonant frequencies, and overly wet reverbs—these details can get masked or skewed by reflections in an untreated room. With headphones, you’re hearing a direct feed of your mix, free from the room’s influence.
This level of forensic detail is especially useful when performing tasks like EQ cleanup, editing, or automation. You’ll be able to focus on problematic areas with more confidence, especially in the early stages of mixing when clarity is crucial.
Always in the Sweet Spot
Unlike speakers, which rely on proper room placement and listener positioning, headphones keep you permanently in the sweet spot. Whether you’re leaning back in a chair, lying on a hotel bed, or sitting in a quiet café with a laptop, you're still getting a centered, consistent stereo image and frequency response—a massive advantage for many mixers who don’t have access to ideal monitoring conditions.
Freedom From the Room
If your mix decisions are being influenced by poor room acoustics, you’re already starting from behind. Treating a room properly can be expensive, time-consuming, or impossible if you rent or are constantly moving. Headphones eliminate this variable almost entirely. When you mix on headphones, you’re not at the mercy of reflections, standing waves, or bass traps.
Especially for beginners, headphones offer a more reliable environment to learn in. You’ll be training your ears to hear the actual mix, rather than the room’s response to it.
Mixing on the Move
I learned this lesson the hard way—by necessity. While traveling frequently, I couldn’t count on consistent studio access. So, I started bringing two pairs of headphones with me everywhere: the Audio-Technica ATH-M50x ($149 street) for closed-back isolation and punchy midrange, and the Sennheiser HD650 ($499 street) for open-back transparency and spaciousness.
These two became my mobile studio, whether I was mixing on a tour bus, in a hotel, or grabbing a few hours between flights at an empty gate. The proof came when I got back home: I’d pull the mixes up on my main monitors, and they would hold up—often needing only minor tweaks (still critical). It was an empowering realization that I didn’t always need to be tethered to a room to do meaningful, professional work.
Reference Still Matters
Even with great headphones, referencing is still a key part of the process. Once I’ve done the bulk of a mix on headphones, I always check it on loudspeakers to make sure the low end translates, the stereo image isn’t overly wide, and there’s no listener fatigue.
You should also reference your mix against other commercial tracks—ideally in the same genre—on your headphones to calibrate your expectations and better understand how your mix sits in context.
The Budget Advantage
Let’s talk about money. If you’ve got less than $500 to spend and you’re deciding between entry-level monitors or professional headphones, go for the headphones. A great pair of cans will serve you far better than cheap monitors in an untreated room.
And if you’re curious about expanding your collection or exploring other options, keep an eye on other reputable brands like Neumann, Beyerdynamic, and Sony.
Each of these brands has a range of models catering to different budgets and tonal preferences, from analytical studio response to more musical listening curves. That said, it’s best not to get lost in specs—pick something with proven reliability and learn its sound inside and out.
As long as you’re mindful of your mix decisions, check your references, and develop an intimate familiarity with your headphones, you can make world-class mixes from virtually anywhere.
So, next time you’re packing your gear bag, don’t underestimate what a great pair of headphones can do for your mix. They might just be the most important investment you make.
Sharing with you DavidByrne's new (yet to be announced) album coming this September 5th- his first in 7 years! Who Is The Sky? is produced by Kid Harpoon, and in addition to being incredible, it’s the exact antidote for the times. It’ll be out Sept 5th on his new label Matador Records and will be announced on June 10th along with a world tour.
The album builds upon the themes laid out by American Utopia, the album and tour but more specifically spelled out by the Broadway show and subsequent film. With this offering, David continues his exploration of human connection, optimism, and the potential for societal unity against the chaotic backdrop of the world. Who Is The Sky? is particularly cinematic, humorous and joyful but often with a lesson baked in. But most importantly, the songs are so DavidByrne - they ride the razor's edge of avant-garde and accessible pop.
Since releasing his last solo album American Utopia over 7 years ago, David’s already iconic profile has risen even more. American Utopia went on to be a Broadway show and Spike Lee-directed film for HBO. He received his second Oscar nomination (he won for his work on “The Last Emporer”) for his song for “Everything Everywhere All At Once” with Mitski and performed at the ceremony. Talking Heads’ “Stop Making Sense” was re-released by A24, bringing a whole new generation of fans to what many call the best concert film of all time. David and Fatboy Slim’s musical Here Lies Love, also made it to Broadway. And hopefully you saw David's recent performance with Robyn at SNL 50 - was such an incredible time!
Xvive Combines 5.8 GHz Guitar Wireless with a Multi-FeaturedChromatic Tuner
Whether or not Jimi Hendrix actually played this guitar might come down to how lucky its buyer feels.Photo courtesy of Imperial Vintage Guitars Reverb Shop
