Riffs: Ron Asheton Tribute, Zep Done for Good, Fender Ukes, Garage Band Featuring Lessons
Tribute: The Stooges'' Ron Asheton from Rolling Stone You''ve probably already heard the news. Rolling Stone has a nice tribute. Page''s Manager: Zep Done for Good from Gibson For
Tribute: The Stooges' Ron Ashetonfrom Rolling StoneYou've probably already heard the news. Rolling Stone has a nice tribute. | |
Page's Manager: Zep Done for Goodfrom GibsonFor those of you still holding your breath, it's time to exhale. Seriously, let go, once and for all. Gibson has the details. | |
Fender's Bringing Back the Ukelelefrom Guitar Player Gear GuideThere are people out there who want Ukeleles, right? Well, Fender's hoping so. They're going to have a line coming out soon. Oh, and if you're too cool to admit that ukes are amazing instruments in the right hands, we submit exhibit A: Jake | |
Sting Teaches Guitar in Garage Bandfrom The Industry StandardNews from MacWorld: in Mac's iLife 09, the latest version of Garage Band features basic guitar lessons from guys like Sting. But wait.. they cost $4.99 a pop, which is either a rip or an awesome deal, depending on how much you love the Police. |
The latest multi-effect from Wampler is a dreamy if sometimes difficult-to-master delay/reverb combo.
Great, instantly useable reverb and delay tones. Impressive breadth of sounds in one box. Solid construction. Good value.
Controls and operation can feel confusing.
$299
Wampler Catacombs
wamplerpedals.com
āModeling versus tubeā might be the gear world title fight of the 2020s, but āLED menu versus none on multieffectsā is a pretty riveting undercard. I have sympathies in both corners. The ocean-deep onscreen interface of theMeris Mercury X, for instance, was a bear to navigate, but it also yielded some of the most exciting and tweakable reverb Iāve ever heard. At the same time, Iāll always be partial to having every control I need at my fingertips, and every parameter a knob twirl away from just-right.In theory, the digitalWampler Catacombs fits into the second category, the one I prefer. Itās a super-loaded reverb and delay combo pedal, with seven delay algorithms and five reverb options that sound great. Though in practice, Catacombs sometimes turned out to be a bit more complicated to navigate than I expected.
Lost in the Catacombs
The Catacombs is one of those pedals that begs a dedicated read of the manual before you dive in. Wampler says that the interface enables users to ānavigate effortlesslyā without the use of onboard screens and menus. I was excited by this: Like I said, I donāt love getting lost down tiny LED display rabbit holes and would much rather have all I need at hand. The Catacombs technically satisfies that desire, but it also demonstrates tradeoffs involved with that design ethic. Iām alright with certain controls pulling double-duty, but when every single knob shares two functions, things can get hairy, and doing your preparation up front pays big dividends.
You have to press and hold the left footswitch for a second to access the alt controls (labeled in blue), including reverb selection on the main rotary knob. Though this doesnāt complicate matters too much when using a reverb or delay exclusively, it can be tricky when using a reverb and delay simultaneously. A few times, I scrambled to switch control modes to tame a super-loud runaway reverb or a self-oscillating delay, and the feeling of frantically spinning knobs with no impact because youāre not in the right control mode isnāt a good one. Additionally, you might not know where a given parameter is set because each knob is shared between the delay and reverb effect. The eight onboard preset slots take some of this guesswork away. And Catacombs would be a cinch in the studio once the control navigation becomes second-nature, but I got nervous thinking of trying to navigate any of these quirks during a set.
Entombed in Ambience
Catacombsā operational challenges donāt take too much away from the whole experience because it sounds so great. Each of the six delay programs, and each of the five reverbs, were instantly useable and familiar. Side by side with my Walrus Fathom and EarthQuaker Avalanche Run, the plate, hall, and spring reverb modes held their own, and something about the pedalās wet/dry mix made my playing feel especially alive, present, and cinematic at most settings. I was especially fond of the spring reverb with the decay maxed outāit was juicy and metallic in all the right ways.
The delay modules were just as satisfying. They include three algorithms for tape-style delays, two analog-style delays, and a single digital echo, and each mode offers a distinct texture and experience. The ability to quickly switch the effects from series to parallel offers fun and useful experimentation, letting you apply the reverb algorithm to just your dry signal, or to the repeats, too. I especially enjoyed sticking the plate reverb on my dry signal and leaving it off the delay, creating warped senses of space and continuity.
The Verdict
Though it sounds excellent, immersive, and inviting, I was flustered more than once while trying to bend Catacombs to my will. In some respects, I was reminded of a menu where youāre given three desirable options and have to pick just two. In this case, the options are affordability, sound quality, and user-friendliness. Catacombs is certainly reasonably priced and sounds excellent. But because it navigates a difficult middle path between skipping a cost-bumping digital menu and being more complex than more-straightforward, what-you-see-is-what-you-get units, you should make sure youāre comfortable with that compromise.
Celestion introduces a low-sensitivity, dual voice coil, attenuating speaker.
The Peacekeeper offers guitarists and other amplified musicians a simple and effective way to dial in the coveted "sweet spot" on their amplifiers while still performing at modest volume levels. The Peacekeeper will be on display, alongside a range of Celestionās key guitar and PA products at the companyās NAMM 2025 booth (Hall C, #6602).
The Peacekeeper is designed to work seamlessly with almost any amplifier, like a conventional guitar speaker, but itās in-built attenuating technology will significantly reduce output sensitivity. This enables musicians to drive their amplifiers harder while maintaining manageable volume levels.
Key features of the Peacekeeper include:
- Attenuation Technology: The Peacekeeperās innovative design effectively attenuates the amplifierās output, compared with conventional speakers, allowing players to achieve their desired sound at lower volumes.
- Uncompromising Tone: Attenuation is achieved āorganicallyā through the natural operation of the loudspeaker, enabling the Peacekeeper to preserve the Celestion tone that musicians love: the attenuation process adds no colouration or compromise.
- Seamless Integration: With its 12ā diameter, the Peacekeeper seamlessly integrates with any standard cabinet, offering a hassle-free solution for volume control.
- Widely Compatible: Offering 8Ī© impedance and a maximum power rating of 50W, the Peacekeeper is suitable for pairing with a wide range of amplifiers.
- Precision Built in the UK: Peacekeeper drivers are assembled at Celestionās UK-based loudspeaker research and manufacturing facility, and rigorously tested to meet exacting performance criteria.
For more information on the Peacekeeper, visit: https://celestion.com/product/peacekeeper/
Visit Celestion at The NAMM Show, January 23-25,2025 in Hall C, Booth #6602.
Across Frank Zappaās monumental body of work, he injected rock-based music with compositional techniques straight out of the modern classical handbook, as well as groundbreaking studio trickery and a teenagerās wit. To match his untamable creativity, he famously demanded an unmatched level of musical dedication from his players, and his own guitar playing balanced that discipline with off-the-rails experimentation.
Across Frank Zappaās monumental body of work, he injected rock-based music with compositional techniques straight out of the modern classical handbook, as well as groundbreaking studio trickery and a teenagerās wit. To match his untamable creativity, he famously demanded an unmatched level of musical dedication from his players, and his own guitar playing balanced that discipline with off-the-rails experimentation.
When considering Zappaās legacy as a guitarist, we canāt separate it from his work as a composer, songwriter, producer, and all-around big personality. As a listener, you can love Zappaās chamber music and simultaneously not be able to handle his lyrics; you can adore his guitar playing but prefer he keep his opinions to himself. Our list of favorite Zappa guitar-centric recordings covers a lot of musical ground but keeps it all about his playing.
Is Frank Zappa to blame for the sound of jam bands? When was Zappaās best decade? And weāre looking at the connection between Zappa and Phish (who one of us calls āZappa liteā). In a bonus segment, weāre playing āDid They Get It Right?ā and examining the Grammysā former category for Best Rock Instrumental Performance.
This episode is sponsored by Dunlop.
Learn more: https://www.jimdunlop.com/products/electronics/cry-baby/.
An all-new line of solid body electric guitars, rooted in Eastmanās DāAmbrosio Series.
The FullerTone SC '52 and DC '62 represent the fusion of Eastmanās old-world craftsmanship and modular versatility, featuring their FullerTone two-bolt, long-tenon neck design first pioneered in the highly acclaimed D'Ambrosio Series. This innovative neck-to-body construction delivers more tone, sustain, and stability.
Through collaboration with renowned pickup builders ToneRider, both models deliver pure, pristine tone while maintaining exceptional warmth and projection. The SC '52 single-cutaway and DC '62 double-cutaway models draw inspiration from California's natural beauty, coming in three distinctive colorsāMoss Black, Desert Sand, and Ice Blue Metallicāeach complemented by industrial anodized aluminum pickguards and Eatmanās signature Truetone Satin Gloss finish, delivering a gust of modern refinement and graceful mojo.
Key features of the Eastman FullerTone Series:
- Eastmanās highly coveted FullerTone two-bolt, long-tenon neck system with three times greater neck-to-body contact, delivering more tone, sustain, and stability
- Custom ToneRider soapbar humbuckers with gold-foil covers and noiseless stacked single coils
- Premium-grade electronics
- Roasted black limba bodies with custom-designed staggered tuners for optimal string pull
āMy challenge for this design was simple: to create a modular bolt-on neck system that performed, looked, and felt better than what is commonly seen on the solid body bolt-on market. This led me to explore three-dimensional neck joints in solid-body guitars. The FullerTone neck system integrates a small structural heel and tenon hidden underneath the neck pickup. The matching geometry of the neck and body securely locks the two pieces into place and is mechanically fastened together. This design utilizes the best qualities of its main components,ā said Otto DāAmbrosio, Eastmanās master luthier and designer.
"With these guitars we have managed to break through various barriers without cutting any corners. Again, everything is top notch, as we always offer nothing but the best. This one is for everyone, we feel," said Pepijn 't Hart, Eastmanās director of fretted instruments.
The FullerTone Series is available through Eastman Authorized Dealers worldwide, offering unlimited possibilities for players ready to take their creative expression to new levels.