
Lauren Audio’s latest puts Neve’s coveted 1073 circuit in a stompbox.
After our columnist had a serious accident, respected indie pedal maker James Mackey organized the community to help. Here’s his story.
Summer 2022 sure was crazy for me. Between trying to keep my small pedal business alive and juggling the few other hustles I have going to survive financially in this current economic climate, things were pretty hectic. Then, in August, I was involved in a serious car accident … a head-on collision. Thankfully, the airbag and seat belt saved my life. I stumbled out of the car, completely shocked and humbled to be in one piece after I saw the wreckage. While I will most likely be dealing with the resulting lumbar issues for the rest of my life, I can’t express how grateful I am to still be here.
My dear friend James Mackey, who runs a small pedal business here in California called Lauren Audio, reached out to me shortly after the accident. James hosted a benefit in our pedal builders’ community a couple of years ago. I donated one of my Atari Fuzzes, and our friendship blossomed from there. Now, he organized a raffle to benefit us, involving nearly 40 independent pedal makers. So, since this issue’s cover story is about builders, let me take this opportunity to introduce you to James and his work.
Lauren Audio focuses on creating studio-inspired effects and modules, while also offering PCB design and prototyping services to other makers. The Mustang, which is their current pedal offering, is a class-A overdrive based on one of the most iconic recording channels, the Neve 1073. Supercharged with a modified gain control and variable feedback, the Mustang has quickly become an indispensable tool for some players. Built with high-quality parts, this pedal runs at an internal 24V just like the classic Neve rack unit, for impressive headroom and dynamic depth.
James, I know all about your rad pedals, but what is your musical background?
My first real instrument was the trumpet. While I was in high school band, someone introduced me to FruityLoops and digital production. I was blown away. I had begun DJ-ing in high school and making my own tracks. This became so accessible with DAWs. This was my first intro to effects. I really loved finding new plugins, but I spent the most time looking for distortions and saturators. I mostly studied mixing and production by bouncing between a few community colleges. I moved to Los Angeles, as I had gotten a job at Guitar Center. From there, I went to Perfect Circuit, then British Audio Engineering (BAE). I recorded and mixed in my spare time. I moved back down to Orange County after a five-year run in LA, and began Lauren Audio in 2016.
I was working with a partner who was a metal guitarist. He had designed a pedal in the aim of a metal distortion/OD. I wanted to design pro audio gear, but since we had the pedal design, it seemed like a logical first step. I added a multi-clipping option, some extra goodies, and we had our first pedal: the Spitfire. During this time, I was picked up by a local touring band as a front-of-house engineer. I learned a lot working in different venues, and got to hear lots of different rigs. I’ve since focused on Lauren Audio full-time. I have the pleasure of playing guitar often when designing and testing, and every now and then I’ll do some mastering for friends.
What drew you into DIY, building, and then designing effects pedals and gear?
I had always liked building things. I was super into LEGOs as a kid. I’ve always wanted to make my own things, so I guess it wasn’t a big leap. At Perfect Circuit, I worked in the warehouse near the tech bench. I would always bug the techs about what they were working on. I was already into gear, but seeing the repair process and internals of lots of different pieces changed my trajectory. We had the ability to pitch new ideas at BAE, and I really enjoyed being able to test prototypes. I was always trying to think of something new to impress my boss, so my gears were constantly turning for audio designs.
How did the raffle start? I am truly grateful, humbled, and blown away by it.
Credit goes to Al from The Cultured Guitarist[podcast]. We knew about your accident but weren’t aware of the depth of the situation. It was really sweet to see how far your vibes have spread through the community. I, too, am blown away by the support this community has offered.
What do you foresee yourself building 10 years from now?
I really look forward to building pieces specifically for mastering. My goal is to build my own mastering rig. One of my first concepts was a mastering EQ, and I still aim to make it a reality. Long term, I would like to help design renewable energy systems.
YouTube It
Check out a demo of Lauren Audio’s Mustang, based on the Neve 1073 preamp.
- State of the Stomp: The Noise of Art ›
- State of the Stomp: Will Analog Die? ›
- State of the Stomp: Give It to Me Straight ›
The country virtuoso closes out this season of Wong Notes with a fascinating, career-spanning interview.
We’ve saved one of the best for last: Brad Paisley.The celebrated shredder and seasoned fisherman joins host Cory Wong for one of this season’s most interesting episodes. Paisley talks his earliest guitar-playing influences, which came from his grandfather’s love of country music, and his first days in Nashville—as a student at Belmont University, studying the music industry.
The behind-the-curtain knowledge he picked up at Belmont made him a good match for industry suits trying to force bad contracts on him.
Wong and Paisley swap notes on fishing and a mutual love of Phish—Paisley envies the jam-band scene, which he thinks has more leeway in live contexts than country. And with a new signature Fender Telecaster hitting the market in a rare blue paisley finish, Paisley discusses his iconic namesake pattern—which some might describe as “hippie puke”—and its surprising origin with Elvis’ guitarist James Burton.
Plus, hear how Paisley assembled his rig over the years, the state of shredding on mainstream radio, when it might be good to hallucinogenic drugs in a set, and the only negative thing about country-music audiences.
Tom Bedell in the Relic Music acoustic room, holding a custom Seed to Song Parlor with a stunning ocean sinker redwood top and milagro Brazilian rosewood back and sides.
As head of Breedlove and Bedell Guitars, he’s championed sustainability and environmental causes—and he wants to tell you about it.
As the owner of the Breedlove and Bedell guitar companies, Tom Bedell has been a passionate advocate for sustainable practices in acoustic guitar manufacturing. Listening to him talk, it’s clear that the preservation of the Earth’s forests are just as important to Bedell as the sound of his guitars. You’ll know just how big of a statement that is if you’ve ever had the opportunity to spend time with one of his excellently crafted high-end acoustics, which are among the finest you’ll find. Over the course of his career, Bedell has championed the use of alternative tonewoods and traveled the world to get a firsthand look at his wood sources and their harvesting practices. When you buy a Bedell, you can rest assured that no clear-cut woods were used.
A born storyteller, Bedell doesn’t keep his passion to himself. On Friday, May 12, at New Jersey boutique guitar outpost Relic Music, Bedell shared some of the stories he’s collected during his life and travels as part of a three-city clinic trip. At Relic—and stops at Crossroads Guitar and Art in Gilbertsville, Pennsylvania, and Chuck Levin’s Washington Music Center in Wheaton, Maryland—he discussed his guitars and what makes them so special, why sustainability is such an important cause, and how he’s putting it into practice.
Before his talk, we sat in Relic’s cozy, plush acoustic room, surrounded by a host of high-end instruments. We took a look at a few of the store’s house-spec’d Bedell parlors while we chatted.
“The story of this guitar is the story of the world,” Bedell explained to me, holding a Seed to Song Parlor. He painted a picture of a milagro tree growing on a hillside in northeastern Brazil some 500 years ago, deprived of water and growing in stressful conditions during its early life. That tree was eventually harvested, and in the 1950s, it was shipped to Spain by a company that specialized in church ornaments. They recognized this unique specimen and set it aside until it was imported to the U.S. and reached Oregon. Now, it makes the back and sides of this unique guitar.
A Bedell Fireside Parlor with a buckskin redwood top and cocobolo back and sides.
As for the ocean sinker redwood top, “I’m gonna make up the story,” Bedell said, as he approximated the life cycle of the tree, which floated in the ocean, soaking up minerals for years and years, and washed ashore on northern Oregon’s Manzanita Beach. The two woods were paired and built into a small run of exquisitely outfitted guitars using the Bedell/Breedlove Sound Optimization process—in which the building team fine-tunes each instrument’s voice by hand-shaping individual braces to target resonant frequencies using acoustic analysis—and Bedell and his team fell in love.
Playing it while we spoke, I was smitten by this guitar’s warm, responsive tone and even articulation and attack across the fretboard; it strikes a perfect tonal balance between a tight low-end and bright top, with a wide dynamic range that made it sympathetic to anything I offered. And as I swapped guitars, whether picking up a Fireside Parlor with a buckskin redwood top and cocobolo back and sides or one with an Adirondack spruce top and Brazilian rosewood back and sides, the character and the elements of each instrument changed, but that perfect balance remained. Each of these acoustics—and of any Bedell I’ve had the pleasure to play—delivers their own experiential thumbprint.
Rosette and inlay detail on an Adirondack spruce top.
Ultimately, that’s what brought Bedell out to the East Coast on this short tour. “We have a totally different philosophy about how we approach guitar-building,” Bedell effused. “There are a lot of individuals who build maybe 12 guitars a year, who do some of the things that we do, but there’s nobody on a production level.” And he wants to spread that gospel.
“We want to reach people who really want something special,” he continued, pointing out that for the Bedell line, the company specifically wants to work with shops like Relic and the other stores he’s visited, “who have a clientele that says I want the best guitar I can possibly have, and they carry enough variety that we can give them that.”
A Fireside Parlor with a Western red cedar top and Brazilian rosewood back and sides.
A beautifully realized mashup of two iconic guitars.
Reader: Ward Powell
Hometown: Ontario, Canada
Guitar: ES-339 Junior
I’ve always liked unusual guitars. I think it started when I got my first guitar way back in 1976. I bought a '73 Telecaster Deluxe for $200 with money I saved from delivering newspapers.
I really got serious about playing in 1978, the same year the first Van Halen album was released. Eddie Van Halen was a huge influence on me, including how he built and modded guitars. Inspired by Eddie, I basically butchered that Tele. But keep in mind, there was once a time when every vintage guitar was just a used guitar—I still have that Tele, by the way.
I never lost that spirit of wanting guitars that were unique, and have built and modded a few dozen guitars since. When I started G.A.S.-ing simultaneously for a Les Paul Junior and a Casino, I came up with this concept. I found an Epiphone ES-339 locally at a great price. It already had upgraded CTS pots, Kluson tuners, and the frets had been PLEK’d. It even came with a hardshell case. It was cheap because it was a right-handed guitar that had been converted to left handed and all the controls had been moved to the opposite side, so it had five additional holes in the top.
Fortunately, I found a Duesenberg wraparound bridge that used the same post spacing as a Tune-o-matic. I used plug cutters to cut plugs out of baltic birch plywood to fill the 12 holes in the laminated top. I also reshaped the old-style Epiphone headstock. Then, I sanded off the original finish, taped the fretboard, and sprayed the finish using cans of nitro lacquer from Oxford Guitar Supply. Lots of wet sanding and buffing later, the finish was done.
I installed threaded insert bushings for the bridge, so it will never pull out. The pickup is a Mojotone Quiet Coil P-90 and I fabricated a shim from a DIY mold and tinted epoxy to raise the P-90 up closer to the strings. The shim also covers the original humbucker opening. I cut a pickguard out of a blank and heated it slightly to bend it to follow the curvature of the top.
All in all, I'm pretty happy how it turned out! It plays great and sounds even better. And I have something that is unique: an ES-339 Junior.
ENGL, renowned for its high-performance amplifiers, proudly introduces the EP635 Fireball IR Pedal, a revolutionary 2-channel preamp pedal designed to deliver the legendary Fireball tone in a compact and feature-rich format.
The EP635 Fireball IR Pedal brings the raw power and precision of the ENGL Fireball amplifier into a pedalboard-friendly enclosure, offering unmatched flexibility and tonal control for guitarists of all styles. This cutting-edge pedal is equipped with advanced features, making it a must-have for players seeking high-gain perfection with modern digital convenience.
Key Features:
- Authentic Fireball Tone – Designed after the renowned ENGL Fireball amplifier, the EP635 delivers the unmistakable high-gain aggression and clarity that ENGL fans love.
- Two Independent Channels – Easily switch between two distinct channels, with each channel’s knob settings saved independently, allowing for seamless transitions between tones.
- Built-in Midboost Function – Enhance your tone with the integrated Midboost switch, perfect for cutting through the mix with extra punch.
- Advanced Noise Gate – Eliminate unwanted noise and maintain articulate clarity, even with high-gain settings.
- IR (Impulse Response) Loading via USB-C – Customize your sound with user-loadable IRs using the included software, bringing studio-quality cab simulations to your pedalboard.
- Headphone Output – Silent practice has never been easier, with a dedicated headphone output for direct monitoring.
- Premium Build and Intuitive Controls – Featuring a rugged chassis and responsive controls for Volume, Gain, Bass, Middle, Treble, and Presence, ensuring precise tonal shaping.
SPECS:
- Input 1/4” (6,35mm) Jack
- Output 1/4” (6,35mm) Jack
- Headphone Output 1/8”(3,5mm) Jack
- 9V DC / 300mA (center negativ) / power supply, sold separately
- USB C