
The literal Mastermind behind the high-functioning communication between these effects is at lower left.
It may be 40-year-old technology, but a slew of affordable high-quality controllers and stellar MIDI-enabled effects—as well as an ever-flattening learning curve—make this a great time to consider bringing your board into the future.
MIDI is a technical standard developed in the early '80s to allow equipment of a variety of types and functions to communicate as interconnected music production tools. The term Musical Instrument Digital Interface describes both the protocol and the hardware necessary for manufacturers to build compatible systems, and the standard quickly replaced most manufacturers' proprietary communication methods—making the world of synths and effects modules much more universal. Not many digital standards have remained relevant for 40 years, but MIDI is still kicking around and growing in users and market segments.
As the sophistication of product designers has risen and computing hardware costs have fallen, MIDI functionality has been employed in areas that the original architects probably could not have imagined. MIDI equipped effects, switchers, and controllers are now available for almost every application and budget, and the open-ended nature of the protocol means that MIDI can do more than ever. Fortunately, you need not know everything about MIDI's capabilities to use it on a guitar pedalboard to great effect.
In its simplest form, MIDI is a collection of messages. These messages are sent on one of 16 channels. Most rigs assign each MIDI device to its own channel, keeping everyone's messages in their own lane. The messages most often used in the stompbox world are Program Changes (PC) and Control Changes (CC). PCs are often used to call up preset sounds on an effect. When a MIDI controller (RJM Mastermind, Morningstar's MC series, etc.) sends a PC of value 10 to an effect, the effect loads program/preset 10. You will have saved your awe-inspiring effect patch there to be recalled. Additionally, pedal makers will assign certain parameters to be accessible via a corresponding Control Change number. You can send a MIDI CC message to edit effect parameters with a value of 1 to 128 (corresponding to the number of binary bits of data). Think of CCs as a means of remotely toggling switches and turning knobs on your effects, where sending a CC value of 1 means 0 percent and 128 means 100 percent. So, if the maker of your MIDI-equipped delay has assigned CC #45 to feedback, you can send a CC message that sets the value to 128, max out the feedback, and swim in the repeats.
If you need preset-able effects or real-time adjustment of effect parameters, be encouraged.
How do we issue these clever little messages to our clever little boxes? RJM, Morningstar, and Disaster Area all make controllers with the ability to send PC and CC messages in some form or fashion. There are a few things to consider as you connect them. The original MIDI standard uses a 5-pin circular DIN with a bona fide opto-isolated input that prevents ground loops. More recently, manufacturers like Boss, Chase Bliss, and Strymon have started using TRS connectors in both 1/4" and 1/8" varieties, and while some of these TRS connections have opto-isolated inputs, others do not. Disaster Area's MIDI Box can help connect MIDI signals to these non-iso'd products, but beware: Ground loop issues can persist if there isn't a full-spec isolated MIDI input on every device. These can manifest as constant whines or bursts of noise.
Most MIDI interconnections are daisy-chained. You'll connect the MIDI output of your controlling device to the MIDI input of the first pedal in your MIDI chain. Many pedals have a MIDI-thru to forward that MIDI information down the line, although it may require configuration to do so. Beware, all MIDI-thrus are not created equal! Some pedals do a poor job of forwarding data accurately when lots of MIDI commands are being sent at the same time and, in our experience, daisy-chaining four or more pedals risks reducing MIDI reliability. In large rigs with many MIDI devices, you may want to use something like a MIDI Solutions Quadra Thru, which produces four pristine copies of your original MIDI message. These boxes can shorten your daisy-chains and/or put misbehaving pedals in their own branch.
Many guitar players have sworn off ever using something like MIDI on principle alone. That's quite alright. They may genuinely not require any of its utility, but if you need preset-able effects or real-time adjustment of effect parameters, be encouraged. The costs of high-quality MIDI controllers and MIDI-equipped effects are falling and the learning curve is flattening out. The time is right to bring your board into the future ... with a 40-year-old technical standard.
- Decoding Modern MIDI Guitar - Premier Guitar ›
- RJM Mastermind MIDI Controller Review - Premier Guitar ›
- Intro to MIDI for Pedalboards - Premier Guitar ›
- Why MIDI Matters, and How to Use It with Your Guitar ›
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Crank the heat! PG's John Bohlinger plugs into the boutique-built Sterling Vermin, a modern twist on the iconic Rat distortion. Hear it rip through Strats, Teles, and a Les Paul with classic snarl and smooth silicon/BAT41 clipping.
Sterling Vermin RAT
The Sterling Vermin was born from a desire for something different — something refined, with the soul of a traditional RAT pedal, but with a voice all its own.
Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, the Sterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold step forward for creativity.
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes. Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedal that’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide, usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affords a satisfying smoothness to the rotation, with just the right amount of tension. Additionally, the polished stainless-steel enclosure with laser-annealed graphics showcases the merging of the pedal’s vintage flavor and striking design.
From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt with Big Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass in dynamic distortion. With premium components, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’s a new chapter for RAT.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).