Witness how this Ecuadorian-via-Switzerland duo evokes everything that’s beautiful and bleak from the desert, using hollowbodies, a serendipitous Strymon, and rhythmic hypnosis to paint an Ennio Morricone soundscape.
When some people travel, they take photos on their phone to remember the trip. Old-soul voyagers will recount their adventures with pen and paper. But for Alejandro and Estevan Gutiérrez, who together make the globetrotting Ecuadorian-Swiss duo Hermanos Gutiérrez, their experiences conjure soundtracks, and a visit years ago to the American Southwest changed their sound forever.
A couple years after forming their duo, the brothers took a trip through Death Valley and the Mojave Desert. “It just blew our minds,” Estevan told PG. The desert, he says, “is where our music was born.”
“Part of what we’re doing is traveling together as brothers,” Alejandro told PG in 2022. “We go to places, we come back and we’re feeling inspired, and we feel like we’ve gotta write something about this place.”
After finding bountiful inspiration in the West, the duo began turning out mystical compositions, like sonic souvenirs and passport stamps on their consciousness. “It’s just beautiful where we can go with this music,” Alejandro said last year. “It’s just my brother and I together, and we’re so happy to have this.”
The sold-out Hermanos Gutiérrez concert at Nashville’s Basement East on June 20th marked their first time performing in Music City since recording El Bueno Y El Malo with Dan Auerbach at Easy Eye Sound in 2022. The pair invited PG’s Chris Kies onstage to decode their spellbinding cinematic sounds. The conversation touched on their symbiotic alchemy, enchanting hollowbodies, and how a single Strymon reset their slow-burn backdrop.Brought to you by D’Addario Nexxus 360 Tuner.
Like their muse the desert, the brothers’ setups are sparse. Each one totes a single hollowbody. Alejandro travels with his 1963 Silvertone 1446, which is stock except for a refret and custom-made, snake-like Bigsby arm, both done by longtime Dan Auerbach tech Dan Johnson. (You might recognize Dan from his three different Black Keys Rig Rundowns. Check out the latest one from 2019!)
Alejandro is a fingerstyle player (inspired by Estevan) and, at the suggestion of Johnson, uses Pyramid Gold Heavy (.013–.052).
For songs like “Tres Hermanos,” Alejandro gets down with this 1940s Rickenbacker Electro NS lap steel.
Estevan connected with Dan Auerbach’s 1958 Gretsch 6120 “Rudy” while tracking El Bueno Y El Malo at Easy Eye Sound last year. For road duties, he never leaves home without his own Gretsch G6120T-59 Vintage Select 1959 Chet Atkins hollowbody. Inspired by a random YouTube video of an older gentleman playing Santo & Johnny’s “Sleep Walk,” Estevan built a partnership with the 6120. “I’ve tried many, many guitars, but none of them gives me the sound that is me except this Gretsch,” he says. Estevan puts D’Addario EXL 115 (.011–.049) strings on his creamy crusader.
Check out all the hip hardware substitutions and rattlesnake-approved artwork on Estevan’s 6120.
Given that Nashville and Easy Eye have become an oasis for Hermanos Gutiérrez, it makes sense they would take advantage of the studio’s library of vintage and vibey gear. For the Basement East show, Alejandro borrowed a 1960s Fender Deluxe Reverb from Easy Eye and plugged into the first input of the vibrato circuit.
Spaghetti in Stereo
When creating El Bueno Y El Malo, Estevan plugged into Auerbach’s vintage Magnatone for the whole recording process. (You can really hear the amp’s magic vibrato pulsing during the album’s opening title track.) For this show, he compromised by running his 6120 into a modern Magnatone Panoramic Stereo model.
Alejandro Gutiérrez’s Pedalboard
Alejandro packs light with a compact board that holds a MXR Dyna Comp Mini, a Boss GE-7 Equalizer, a Strymon Flint, and the influential Strymon El Capistan. While Estevan discovered the El Cap and unlocked its magic for Hermanos Gutiérrez (more on that in a second), Alejandro has molded it to his sound in different ways. “I use it as a layer,” he explains. “Really subtle. My brother uses it more as a delay. He has this horse sound, like this galloping sound he can create with his slapping, which only he can do.” A Boss TU-3 Chromatic Tuner keeps the Silvertone in line.
Estevan Gutiérrez’s Pedalboard
You can see that Estevan utilizes nearly every square inch of his pedalboard. Overlaps between the brothers’ boards include the MXR Dyna Comp Mini, the Strymon Flint, and the aforementioned Strymon El Capistan. You might think their setup is basic now, but they used to play sans pedals. Eventually, Estevan discovered the Strymon El Capistan, and their sound was never the same. “I remember that day,” he recounted to PG about first playing the pedal. “I fell in love. I knew it was gonna change something in our sound.” As soon as he purchased the El Capistan, he called his brother and said, “You have to buy this. This is gonna be next level for us.”
The remaining effects for Estevan include a Malekko Omicron Vibrato, a Boss RC-500 Loop Station, and a Boss TU-3 Chromatic Tuner (off the board) keeps his Gretsch in check. Lastly, you’ll notice a G7th Performance 3 ART Capo on the pedalboard, too.
Three of five new analog stomps from the revived brand forge unique paths from vintage origins.
Unique, vintage-colored modulations. Boost compensates for perceived volume loss.
Modulations could be a little more liquid and cohesive.
Maestro Mariner Tremolo
Many different effects can salvage a crappy backline situation. A nice reverb goes a long way toward making a lame amp sound okay. A delay or compressor can usually lend a little energy and mystery to an otherwise lifeless tone, too. But in my experience, few effects coax magic from garbage quite like tremolo.
Just ask Keith Richards. For the spooky-as-hell guitar track that underpins “Gimme Shelter,” Keith used a Triumph solid-state amp that legendary engineer and producer Glyn Johns hated. But while Johns may have thought the Triumph sounded lame, it had a tremolo circuit Keith loved. Go ahead, give the song a listen. It’s hard to imagine “Gimme Shelter” without that haunting pulse.
Maestro’s Mariner tremolo has the same potential to rescue a lifeless track or performance. It’s not the most refined tremolo (it can come on a bit strong at times), nor does it sound like an approximation of any vintage standard. (It sounded very different from a black-panel Fender Tremolux and Vibroverb, as well as an excellent digital take on those circuits.) Functionally speaking, it will probably remind many players of the Boss TR-2, with its depth, speed, and wave shape controls, which move between sine and square waveforms. Even its controls are arranged in an inverse triangle like the Boss. But the Mariner offers a second, more phase-y mode that it calls harmonic tremolo, which approximates, to some extent, the harmonic vibrato on some early-’60s Fender brown-panel amps. That extends the practical and fun potential of the Mariner.
Pick Your Pulse
If you’re a stickler for vintage-correct emulations, Mariner might not be your first pick for a pedal tremolo. That doesn’t mean it lacks vintage feel, though. In classic mode (it’s not clear if this all-analog circuit was designed to approximate an optical tremolo circuit, bias tremolo, or neither), you can dial in very pretty, immersive modulations that will sound more than adequately vintage-like in a mix. Classic settings are also easy to shape in creative ways with the waveform knob. Compared to what’s arguably the affordable analog tremolo standard bearer, the Boss TR-2, the Mariner’s maximum depth and square wave settings are more pronounced and intense. Some of this intensity might be due to the fact that the Mariner is flat-out louder. Tremolo-pedal makers often build in a very mild boost to compensate for the perceived loss of signal that accompanies some tremolo effects, and Maestro certainly seems to have included one here. The Mariner is perceptibly louder than both a TR-2 and a Strymon Flint.
Even still, Mariner’s harmonic mode is rich and charming, and the wobbly pulses lend a very psychedelic edge.
The Mariner could be more nuanced at times. The classic mode’s pulses, for instance, sometimes seem more hard-edged than liquid. These less-fluid modulations can be even more pronounced in the harmonic tremolo mode. Many players, however, will prefer this texture, even though amp-based harmonic tremolo tends to sound smooth and contoured. Still, Mariner’s harmonic mode is rich and charming, and the wobbly pulses lend a very psychedelic edge. And at slower rates, in particular, the harmonic mode finds its stride. The modulations are phasey and elastic and can sound both beautiful and striking in the right setting.
At nearly 160 bucks, the Mariner is priced near the top end of the affordable tremolo class. But Mariner’s secret weapon may be the fact that it sounds vintage without clearly imitating other circuits or sounding too generic. That relative individuality, plus its extra output, make it an appealing option for those who’d rather not default to the most obvious standard.
One of my favorite ways to make a tremolo pedal like the Mariner sound even cooler than it already does is by situating a phaser downstream. I tend to disagree with guitarists that regard phase as one-dimensional. I’ve seen ripping players with great dynamic touch and broad tone palettes that almost never turn them off. And it’s always impressive how they weave a phaser’s cool mysterious sense of motion into a complex whole instead of placing the modulation front and center.
There’s a lot more flexibility to do that these days now that phasers have evolved so considerably from early one-knob classics. Maestro’s Orbit Phaser walks the line between contemporary and complex, and vintage and stupidly simple, though it tends toward the latter. So, while it lacks some of the fine-tuning features you see on more powerful units, it facilitates creation of subtle, backgrounded blends and much more prominent modulations.
You Gotta Move
The Orbit’s phase is bold and clear. There is no perceived signal loss—a problem that plagues a lot of older analog phasers and which becomes a fear among many first-time phaser shoppers. In some situations, the Orbit cuts because of a very pronounced midrange emphasis. The pedal adds a distinct tone color—midrange-y enough to evoke a cocked wah or filter at certain settings and with certain guitars. There are some awesome applications for the voice. For example, I paired the pedal with a Telecaster on which I rolled the tone way back. The resulting skwonky waveforms I heard could transform an otherwise dull part into something hooky and weird. The midrangey voice also meshes very nicely with PAF-style humbuckers, creating pronounced, muscular waveforms that cut in jangly settings or psychedelic blues solos. The Orbit sounds extra cool and assertive at fast modulation rates—another neat way to pepper up a same-old fake-Jimi solo. It also sounded bolder in this setting than the very old and familiar Small Stone and Phase 90 I used for reference.
The Orbit sounds extra cool and assertive at fast modulation rates.
At slower rates—the kind that, say, you would use for The Dark Side of the Moon tracks, soul ballads, or Waylon Jennings jams—the Maestro’s mid-focused voice works less well. Rather, the more open-ended and less specific voices of the Phase 90 and Small Stone let your signal breathe a lot more across the frequency spectrum, while the Orbit feels punkier and more snarling. Which flavor is better is totally subjective. But I would say Orbit’s slow phase tones read as a little less liquid than those from the old MXR and Electro-Harmonix units.
The Orbit Phaser can be a real joy for how unique it sounds. Faster rate settings are particularly rich. The ability to tailor width and feedback enables loads of contrasting subtle-to-robust waveforms. The 4-and-6-stage modes provide additional versatility, though the differences between them is less pronounced than on some phasers with that option. The Orbit’s range would make it the ideal candidate for an always-on phaser, and there will be players who use it in just that fashion. But the strong midrange emphasis will probably dissuade many from using it that way— especially those that primarily use single-coils. Humbucker players might have a different experience. The Orbit’s voice gets along great with a PAF. And that’s just one of many intriguing and satisfying sounds here.
Agena Envelope Filter
To a large segment of the guitar-playing populace, “envelope filter” usually means “auto wah” or “that quacky thing.” Most good envelope filters do that stuff. It’s probably what most buyers expect of them. But envelope filters can do other really cool things. They can effectively work like high-contrast EQ presets—transforming solos as radically as a fuzz can. They can also work like dynamic phasers and summon interesting phrasings from pedestrian chord changes and melodic lines, particularly when you get used to working in bendy, elastic give-and-take tandem with the effect. Correspondingly, they are great tools for digging out of a rut.
Maestro’s Agena lives a little less on the quacky end of the filter spectrum, trading some of those hyper-vowely, percussive and snappy filtering qualities for a more expansive dynamic palette and a little more control over attack. But for anyone keen to explore the effect beyond Jerry Garcia and Bootsy Collins sound archetypes, it will seem much more forgiving and usable than many more clearly Mu-Tron III-derived circuits.
Practical in Practice
If you’re at all put off by envelope filters because their controls are counterintuitive on the surface, you should not fear the Agena. Even if you’re not familiar with how envelope filters are supposed to work, it’s easy to feel your way through how they interact and respond to the input from your guitar and fingers.
The sense knob governs how much picking energy is required before the envelope is activated. Attack controls how fast the envelop opens. Decay regulates how long the filter stays open. A small toggle will be familiar to old-school Mu-Tron and Electro-Harmonix Q-Tron users. It assigns emphasis to higher or lower frequency ranges. The controls are fairly interactive. You can set up classic quacky sounds by cranking up the sense and attack controls and situating the decay control in the middle third of its range. More subdued, less vowel-y tones lurk at faster decay rates, where you can also coax great narrow-focus filter sounds that evoke old octave effects like the Ampeg Scrambler or Dan Armstrong Green Ringer.
You can also coax great narrow-focus filter sounds that evoke old octave effects like the Ampeg Scrambler or Dan Armstrong Green Ringer.
Because the Agena is a dynamically controlled filter, it responds to any change in your input signal. So, it reacts differently to varied pick attack and heavier or thinner picks. Boosts and overdrive remove dynamic range but can add emphasis to quacky and vowelly filter responses or filter effects that highlight specific frequencies. Different guitars and pickups can have very different relationships, too. Telecaster bridge pickups were especially good for coaxing dynamic phase sounds at high-sense/fast-attack/medium-decay settings. PAF-style humbuckers, meanwhile, sounded hot and vocal.
In some ways, the Agena could be the envelope filter for people that don’t like envelope filters. It rarely feels like an all-or-none proposition, and the filter is capable of many sounds in between Grateful Dead caricature and less loaded voices. It also rewards players who pursue less obvious, droning playing approaches as opposed to those who play it funky. But even if it’s just classic quack you’re after, the Agena gives you many shades to work with.
Maestro [Gibson] Mariner Tremolo, Titan Boost, Arcas Compressor, Agena Filter & Orbit Phaser Demos
The guitar universe gathered momentum in a big way in 2022—which is easy to see in this year’s wildly diverse parade of Premier Gear Award winners.
Here's a look at 2022’s most notable new guitars, amps, effects, and accessories, reviewed by our editors and writers:
VALCO KGB Fuzz
While it looks like the work of a Cold War-era mad scientist, this do-it-all dirt dauber is so versatile that it’s easy to overlook its big footprint. It conjures up classic tones that could satisfy Muff, Tone Bender, and maybe even Fuzz Factory fans, but the KGB is also a super-characterful, straight-ahead distortion in its own right that sings with fuzz at minimum and offers six adjustable impedance settings, creating a tonal cornucopia.
$299 street, valcofx.com
BOGNER Ecstasy Mini
Historically, big rock tones have required big hardware. However, Joe Charupakorn was quite taken with this shoebox-size ripper that aims to deliver the vibe of its (much) larger counterpart. At 30 watts, the class-D solid-state amp offers way more gain than its 4-pound weight suggests is possible. In addition to the expected EQ controls, the Ecstasy Mini offers a quartet of toggles that emulate a Variac-style control, deliver even more gain, and shape the midrange—all for the price of a boutique pedal.
$329 street, bogneramplification.com
Guitar synthesis gets the MINI Cooper treatment. There are 171 wildly tweakable sounds and 128 presets inside this rugged 5" x 4" box with an easy-on-the-eyes display and friendly layout. You want ’70s cheese or prog? Eighties Crimson? Classic Floyd? Radiohead? It’s all on tap and easily accessible with a little help from the online manual. Killer for newcomers or guit-synth veterans looking to slim down their board or rack.
$299 street, boss.info
DUNLOP Pivot Capo
Dunlop’s newest screw-tension capo didn’t solve every last problem associated with assisted fretting. It’s still not quite as convenient as a trigger capo for making changes fast. But string grip—particularly on low strings—is excellent and the variable tension solves a lot of intonation issues. If you switch between guitars with different fret sizes a lot, the Pivot could be a savior.
$29 street, jimdunlop.com
ELECTRO HARMONIX Ripped Speaker
The Ripped Speaker lives up to the promise of its name, delivering damaged tones that evoke early raw rockers. But thanks to wide-ranging fuzz, tone, and rip controls—the latter of which is a bias-starve knob—there’s a lot on tap. It’s easy to conjure everything from Fuzzrite-style distortion to gated fuzz sounds befitting a player like Adrian Belew to pure deconstructed noise sputter, making the Ripped Speaker a unique, versatile fuzz that won’t break the bank.
$110 street, ehx.com
REVEREND Flatroc Bigsby
The Flatroc Bigsby looks a lot like an homage to Gretsch on the surface. But the Retroblast humbuckers that drive the output from this versatile solidbody will probably sound and feel familiar to anyone that has the pleasure of playing a vintage-voiced, low-output PAF. Gibson-style tones are far from the only sounds on tap here, though: an awesomely practical bass contour control can re-cast the Flatroc to play the part of everything from Rickenbacker to Stratocaster to catalog 1960s Japanese instruments.
$1,119 street, reverendguitars.com
KEELEY Compressor Mini
Keeley’s experience with pedal compressors might be, forgive the pun, unparalleled. Okay, maybe he has a few rivals for the King of Comps title. But the Compressor Mini confirms that he can run the range from super flexible and feature rich to stupidly simple, as is the case here. The Compressor Mini’s simplicity belies how rich it can sound. A tone-recovery circuit preserves high-end and a parallel compression scheme sums clean signal at the output in a manner that preserves a lot of string detail. It’s also super quiet. And at $129, it’s a cool way for fans of simple compressors to elevate their output without breaking the bank.
$129 street, robertkeeley.com
Keeley Compressor Mini Demo | First Look
BLACKSTAR Dept. 10 Dual Drive
Packing an actual 12AX7 into a drive pedal not only adds the comfort of glowing glass to the experience but gives this two-headed stomp impressive versatility. The smartly designed setup allows the Dual Drive to comfortably fit at the beginning or the end of your board, due to the excellent cab sims and uncluttered layout. At $299 it’s right in the sweet spot for dual-function pedals that balance features and value.
Blackstar Dept. 10 Dual Drive Demo | First Look
UNIVERSAL AUDIO Volt 276
UA can count an enviable wealth of iconic, well-regarded high-end pieces of hardware and software among their stable. And while a legacy like that can make entry into less rarified and affordable markets tricky, UA delivered big time in the form of the Volt 276. The Volt doesn’t feature the same fancy 1176 compressor and UA-610 preamp models from UA’s Apollo and Luna operating environments. But the models here (as well as the included Marshall and Ampeg emulations) are effective tone sweeteners all the same. A clearly caring approach to the hardware design means it also looks great on a desktop, which is much more than a lot of affordable interfaces can claim.
$299 street, uaudio.com
TC ELECTRONIC SCF Gold
Talk about venerable. TC’s original Stereo Chorus Flanger appeared in 1976. And even in those nascent days of modulation stomp design, the SCF emerged in very realized form. In this newest incarnation, it remains an excellent alternative to other chorus/flanger combos. A clear top end makes it a lot less murky sounding than many other analog modulators. We suspect its relatively low price and jack-of-all-trades versatility will put a lot of fence-sitters over the top.
$149 street, tcelectronic.com
TC Electronic's 1st Pedal Reissued! SCF Gold Stereo Chorus Flanger Demo | First Look
Perhaps the ultimate modeling/IR box for space-conscious players on a budget, the IR-200 has 128 presets, eight core amp models, 244 cab and mic IRs, three reverbs, and stereo, MIDI, effects-loop, USB, headphone, auxiliary-input, and footswitch/expression-pedal connectivity. And the interface is intuitive, with top-mounted controls for gain, level, bass, and treble. If high-end modelers seem intimidating or pricey, this device could be your huckleberry.
$399 street, boss.info
SCHECTER Sun Valley Super Shredder Exotic Hardtail
Fine-tuned shred machines made Schecter Guitars’ name in the 1980s. This outlier eschews more metal elements, like a double-locking trem and active pickups. However, those omissions make the guitar more versatile than many of its counterparts. That’s also largely thanks to the ability to split the pickups in several different variations.
$1,249 street, schecterguitars.com
MAESTRO Comet Chorus
For its splashy return to the effects fray, Maestro dressed up its new pedals in some of the coolest enclosures we’ve ever seen. But the pedals distinguish themselves in terms of sound and function, too. And the Comet Chorus emerged as especially distinguished. Its ability to approximate rotary speaker sounds and generate complex compound modulations—thanks in large part to the “orbit” mode that blends in tremolo—made it one of the most distinctive modulation units we played all year.
$149 street, maestroelectronics.com
Maestro's Five New Pedals | First Look
Little amps like the Fender Champ can be superstars in the studio. Magnatone’s Starlite owes much in terms of inspiration and design to the Fender Champ. But it also offers a best-of-all-worlds take on the Champ’s familiar tune by bridging tweed, black- and silver-panel variants. Much of this flex is achieved via a tone control that adds midrange, softens transients, and adds saturation. It’s a simple fix to the intrinsic limitations in super simple circuits, but it really stretches the Starlite’s functionality and appeal—which is copious on the style side, too.
$1,299 street, magnatoneusa.com
PRS SE Silver Sky
This $849 guitar plays like a million bucks! The Indonesia-made version of PRS’ John Mayer signature S-style is truly exceptional within the vintage tradition, with superb, wide-ranging tones, a fast-action neck, an improved cutaway over many other S-type designs, and a bridge-pickup-dedicated tone pot. Smooth medium-jumbo frets, a reliable vibrato arm, and an 8 1/2" fretboard radius are among the other virtues that make the SE Silver Sky a pro instrument at a bargain price.
$849 street, prsguitars.com
PRS SE Silver Sky John Mayer Signature Demo | First Look
FROST GIANT Architect of Reality
Heads up, Sabbath fans! The Architect of Reality essentially drops the preamp section of Laney’s ’80s Advance Overdrive Response heads at your feet. These amps had an extra gain stage and a slightly darker sound that Tony Iommi put to service. And this pedal possesses destructive amounts of volume, gain, and low-end that are capable of conjuring wall-of-amps doom. To achieve this, the JFET-driven Architect pumps 9V AC up to 36 volts. It’s probably best with high-wattage/high-headroom amps, and have a noise gate handy, but rejoice in occupying the mythical space between distortion and fuzz, where destruction and chaos feel like real propositions.
$250 street, fuzzworship.com
Enough of us grew up with simple, 1-knob phasers that the Zelzah will probably scare a few old-school phase folk. True, Zelzah’s impressive under-the-hood capabilities could give a just-the-basics-please modulation user pause. But like most of Strymon’s pedals in this format, there is a basic elegance here that lets the uninitiated work fast and intuitively, too. In addition to rich 4- and 6-stage phaser colors, Zelzah also features switches for barber pole and envelope phase modes, a useful resonance switch, and a voice control that enables access to flange and chorus tones. A one-stop mod shop? Sounds like a fair assessment to me.
$349 street, strymon.net
First Look: Strymon Zelzah Multidimensional Phaser
At heart, the Cloak is a straightforward, huge-sounding room reverb with a minimalist control set: room size, high-cut, mix, and shimmer knobs, and an internal slider for selecting between trails and true-bypass operation. But with its highly adaptable nature—the pedal paired beautifully with single-coils and humbuckers, overdrives, and several amps—and lovely fidelity, the range of possible sounds is wide. Shawn Hammond wrote, “With mix at max and higher room-size settings, high-cut tamed some of the more garish aspects of shimmer ’verb and turned my guitars into veritable film-scoring machines.”
$210 street, catalinbread.com
SOURCE AUDIO ZIO
As reviewer Dave Hunter noted, the ZIO is far from a one-trick-pony boost. Built in collaboration with Christopher Venter of SHOE pedals, this all-analog affair offers four different preamp voicings and three different tone settings. Simple enough, but the resulting tones—especially in the studio mode—are sweet, juicy, clear, and articulate. Our reviewer loved it so much he even imagined a board that would feature two ZIO units to take full advantage of the many sounds it can make.
$199 street, sourceaudio.net
MARTIN 000-18 Modern Deluxe
How do you refine a model that’s essentially perfect? Martin isn’t the first guitar company to grapple with that problem. But there’s something about the nakedness of an acoustic guitar that renders the issue quite challenging. Martin made the 000-18 Modern Deluxe extra special with some superficial improvements: pearl inlay logo, Indian rosewood binding, and Waverly butterbean tuners. There are practical improvements, too, like the asymmetric-profile neck. But the things that make the 000-18 Modern Deluxe extraordinary are the same things that make any great Martin a gem—tones of extraordinary depth and touch response that feels, at times, telepathic.
$3,599 street, martinguitar.com
FENDER Hammertone Delay
For all its success in the business of building iconic guitars, Fender’s effect history is relatively spotty. But their affordable, simple Hammertone pedals certainly have the potential to stick around. The Hammertone Delay’s combination of design economy and fun-to-use factor make it a tasty proposition for 99 bucks. But the pedal’s personality and breadth, which ranges from almost spring-like reverb overtones to cool Abbey Road ADT tricks and super-clear digital tones, make it a stuffed and super-practical delay for the price.
$99 street, fender.com
Fender Hammertone Pedals Demo | First Look
The combination of familiar lines with modern tech made Ola Englund’s sleek rock machine a standout. Loaded with a pair of Fishman Fluence Modern pickups and an EverTune bridge, the GC1.6AFAB takes a meticulously crafted model and adds a ton of value. Each pickup has independent volume controls along with a push-pull to move between two different voices. The crisp and fast response of the pickups along with the value made this ultra-playable guitar a can’t-miss.
$1,349 street, solar-guitars.com
Solar Guitars GC1.6AFAB Demo | First LookOla Englund’s latest features upscale appointments and a slick playing experience for just $1,299. Video by Carlos Cotallo Solares (https://www.youtube.com/c...
API TranZformer CMP
Once you really get into pedal compression, tough decisions can await. Classic and simple, but maybe noisy? More complex and studio-level control with more headaches on stage? API’s TranZformer CMP isn’t exactly simple. In fact, the control set evokes API’s legendary studio comps like the 2500 Stereo Compressor, which are powerful but not exactly LA-2A-level streamlined. But that experience with studio-grade gear pays big dividends in the TranZformer CMP, which runs quiet and affords a painterly approach to compression with its flexible array of knobs and switches.
$280 street, apiaudio.com
EVH 5150 Iconic Series 40W 1x12 Combo
A more affordable take on the 5150 amp design, this 2-channel closed-back combo was called “insanely versatile and capable of sounds from clean to ultra-high gain to the most extreme molten metal” by reviewer Joe Charupakorn. The channels each feature low- and high-gain modes, and channel 2 includes a noise gate. Other features include an XLR output with speaker emulation, a power amp mute switch, a preamp out, an effects loop, and a 40W/10W power level switch.
EVH 5150 Iconic Series Combo Demo | First Look
BILT The Amp
Delivering 12 to 15 watts of cathode-biased, class AB tone via a 5Y3 rectifier tube, a pair of 6V6s, and a pair of 12AX7s, the guitar builder’s first amplifier—a collaboration with Milkman—is a modern love letter to the venerated tweed Deluxe. But the Amp is no recreation or clone. Just check out its 5-way bass knob and large, handsome cabinet. The result is a loud, midrange-forward combo that sounds great at all volume levels, but thrives when cranked, where it delivers full-on tweed sag.
$2,999 base price, biltguitars.com
YAMAHA Revstar Standard RSS02T
Yamaha has been a force in 6-string electric circles since the 1960s. But their current flagship electric model, the Revstar, was introduced in 2015 and has since been overhauled with an impressive array of features including a chambered body and updated pickups. Our review model sported a pair of P-90s that were a natural fit for blues and classic rock. Big, punchy tones had lots of single-coil chime. Plus, the price is really hard to beat.
$799 street, yamaha.com
Yamaha Revstar Standard RSS02T Demo | First Look
JACKSON AUDIO The Optimist
The whole subset of Klon-inspired circuits is a rabbit hole many fall into. However, the particular variation included in Cory Wong’s signature pedal turned reviewer Jason Shadrick’s mind around. Each overdrive circuit feels rich and full, but it’s the active EQ that comes close to being the MVP. Jackson has always taken great care in making sure the sweep of the controls is useful and musical, and the Optimist might be their most finely tuned setup yet.
$349 street, Jackson. Audio
CHARVEL Guthrie Govan MJ San Dimas SD24 CM
This Japan-built version of the shredder’s signature instrument offers a high-level playing experience. The proprietary tremolo has a wide range of motion, both descending and ascending, thanks to a recessed body cavity underneath the unit, and it offers commendable tuning stability. Elsewhere, accoutrements like a heel-mounted truss rod adjustment wheel and knurled chrome knobs with glow-in-the-dark numbers deliver upscale details. With easy playability and hot, articulate pickups, the SD24 CM is a signature guitar fit for a player fluent in a breadth of styles.
$2,799 street, charvel.com
LINE 6 DL4 MkII
The ubiquitous green delay machine returns in a slimmer modern update. It’s still big, but even on the modern pedal landscape, the DL4’s spacious knob-controlled design feels refreshing, with plenty of room to tweak and stomp around. More importantly, it’s remarkably easy to jump in and find a breadth of unique delay sounds that range from classic to wildly experimental. All the original sounds are onboard, as are just as many new ones, plus a full range of reverbs and the classic looper function.
$299 street, line6.com
Line 6 DL4 MkII Delay Modeler Demo | First Look
I often tell chums griping about their tone to try an EQ pedal. It’s not a very glamorous solution. But it’s often an effective one—especially when carving out just-right fuzz and drive tones. Catalinbread clearly grasps the value of powerful EQ in shaping overdrive output—so much so that they’ve made the Tribute Parametric Overdrive as much an EQ device as a drive machine. The Tribute enables you to boost or cut ranges from 1.4 kHz on the midrange side to 70 Hz on the bass end by 12 dB in either direction. These EQ changes can transform the mood of the already flexible Tribute drastically, from focused boosts to much more aggressive fare.
$179 street, catalinbread.com
Koa has always been treasured by builders for a distinct tonality that sits between rosewood and mahogany. Thanks to a partnership with Pacific Rim Tonewoods, Taylor was able to use a “select grade” koa that helped the company price the model at $2,000 less than some of their other Hawaiian koa-based models. Nobody would mistake this for a budget guitar, however. The sound is every bit as nuanced and complex as guitars with a more flamboyant slice of wood.
$3,499 street, taylorguitars.com
WAY HUGE Red Llama MkIII Smalls
It’s all about simplicity with this 30th Anniversary update to an early boutique-era overdrive. The MkIII has a smaller footprint, but the 2-knob control set remains, featuring just volume and drive. Reviewer Dave Hunter praised the pedal’s “thick, juicy, and chewy” tone, which retains clarity at high gain levels. “When a lot of ODs have started to sound very same-ish, it’s remarkable that it remains so distinct, characterful, and loveable—even after 30 years.”
$149 street, jimdunlop.com
Way Huge Red Llama Overdrive MkIII Demo | First Look
WREN AND CUFF The Good One
The lengths Big Muff scholars will go to chasing definitive and “best” Muff tones is well documented in these pages. Wren And Cuff’s The Good One, though, is the result of an accidental discovery along the path to Big Muff enlightenment. The Good One is W&C founder Matt Holl’s attempt to replicate a vintage “triangle” Big Muff that came through his shop for repair. Like many Muffs, it revealed a curious mix of components. But the sum, as duplicated here, is a Big Muff of uncommon range and clarity that delivers sharp, clear transients just as readily as classic Big Muff heaviness.
$309 street, wrenandcuff.com
UNIVERSAL AUDIO UAFX Ruby ’63
Whether you beg, borrow, or steal, every electric guitarist that reads these pages should find a way to experience the sparkling, harmonically overflowing, and flat-out hot-and-rich colors of a vintage Vox AC30. But if you don’t have the cash, connections, or criminal urges, UAFX’s Ruby ’63 is a mighty fine way to explore those sounds in a pedal. Ruby ’63, of course, capitalizes on the modelling savvy and experience that make UA’s digital production environments a revelation. And the same microscopic attention to detail—and above all feel—is here. Will the Ruby ’63 transform a lousy amp into an AC30? Probably not. But the ease with which it imparts the aura and touch of a vintage Vox to a half-decent tube amp or recording interface can be thrilling—and enable you to speak in a distinctly Vox vernacular.
$399 street, uaudio.com
PIGTRONIX Star Eater
Pigtronix is justifiably guarded about what makes up the circuit in the Star Eater fuzz. It’s pretty unique sounding. But when we ventured the notion of a Big Muff and a Shin-ei Super Fuzz bearing offspring, Pigtronix mastermind David Koltai admitted we were onto something. Similarities with these two fuzzes tell only part of the story, though. A sweepable filter generates tones that might make a Big Muff or Super Fuzz blush. And if that doesn’t pique the interest of a jaded fuzz fanatic, I’m not sure what will.
$179 street, pigtronix.com
SOURCE AUDIO Atlas Compressor
This digital compressor offers six basic modes to conjure a wealth of tones, and each of its four knobs has both primary and alt functions. Even more sounds abound via MIDI functionality and Android/iOS connectivity to access Source Audio’s Neuro Editor. The Atlas’ tones should fool analog heads, and advanced digital capabilities might even lead to cool discoveries.
$229 street, sourceaudio.net
Source Audio Atlas Compressor Demo | First Look
MATTOVERSE Warble Swell Echo MkII
This digital delay has a warm voice that evokes classic BBD delays and old-school tape echo vibes. Its woozy modulation—accessed via a waveform knob, plus rate and depth controls—makes it easy to dial-in retro cassette-tape tones, while the swell footswitch and knob access the land of eternal feedback. For all these functions, the Warble Swell is still easy to navigate and feels simple.
$219 street, mattoverse.com
The Lore isn’t the most complete reverse reverb in the world. It lacks some of the magical takes on the effect that Led Zeppelin and My Bloody Valentine made immortal. But the manner in which it combines time-manipulation effects as well as octave and various interval-based textures often yields much more unpredictable results. If you’re keen to scramble a boring song idea, Lore is a fast track to that goal.
$299 street, walrusaudio.com
EASTWOOD Dusty Spring
Stare at modern pedals long enough and you’ll develop an appreciation for pure simplicity. And it would be hard to find a stomp so brainlessly, plug-and-go satisfying as the Dusty Spring. Calling Dusty Spring a lo-fi effect, as its name suggests, would be too simple. It dishes very convincing spring reverb approximations that would easily fool experts—especially in a mix. Rather, the “dirty” seems equally apt in describing its basic, rich earthiness—a quality that isn’t always easy to find in affordable digital reverbs.
$149 street, eastwoodguitars.com
DEATH BY AUDIO Space Bender
Thank goodness for Death By Audio. Their irreverence isn’t just a middle finger to circuit sameness. It’s an attitude that results in amazing, truly unusual sounds. That goes for the Space Bender, which turns chorus on its ear—mixing and mangling modulation, delay, reverb, and filtering effects to ends that are both predictable and chaotic. Come for the chorus but stay for the deeper freakishness. The Space Bender will deliver—guaranteed.
$270 street, deathbyaudio.com
EARTHQUAKER Special Cranker
This ultra-touch-sensitive stomp is, indeed, special: a warm, medium-gain overdrive designed to sound like you’ve added another tube to your amp’s preamp section. With germanium and silicon modes, there’s tons of tone variety on tap, and the silicon side, especially, has a fat, full voice that is responsive to picking technique and preserves the integrity of complex chords. At less than $100, it’s a bargain, too.
$99 street, earthquakerdevices.com
EarthQuaker Devices Special Cranker Overdrive Demo | First Look
If you’re a germanium fuzz fan, this plain-Jane-named box is a gem. But there’s nothing plain about its operation. A large dial controls temperature bias, which is traditionally a problem with heat-sensitive germanium transistors. There’s a pickup simulator/debuffer so the Fuzz can dwell anywhere in your signal chain. And, adding to the fun, there’s also a 2-way toggle for “classic” or meatier, more harmonically saturated “raw” bias modes. Plus, the volume dial works dynamically with the fuzz and clean-up knobs to let you go from deliciously grainy fuzz to thick, Muff-esque doom tones to skanky, toothy, stabbing boost/overdrive.
$249 street, silktone.org
FENDER JV Modified Deluxe Telecaster
Fender’s Japan-built guitars of the 1980s and 1990s are among the company’s most underrated. Among the many gems Fender Japan produced at the time, the Jerry Donahue signature Tele stands out. The JV Modified Deluxe Telecaster isn’t a reproduction of the JD, but you have to think Fender builders had one eye on that design while putting together this one. The soft-V neck is there, and the Deluxe Telecaster appointments. And while the switching and pickups aren’t exactly the same, the series and out-of-phase switching options open up similar tone territories. The JV Modified is as playable a guitar as we’ve handled all year—no small distinction.
$1,349 street, fender.com
Ade Emsley, the Orange engineer who oversaw the resurrection of the new/old Orange effects, decided to overhaul the Orange Distortion entirely. Stating plainly that he didn’t think the original was very good, he started from scratch—building a new JFET-based amplifier circuit with preset bass and midrange settings and an adjustable treble pot on the pedal’s interior. That might sound limiting, but the Orange Distortion is both wide- and rich-sounding, bursting with amp-like crunch and, at times, beautifully articulate.
$249 street, orangeamps.com
Orange Distortion, Sustain & Phaser Pedal Demos | First Look
It takes intestinal fortitude to build a new 1-knob phaser these days. Most companies have slipped into the phase-manipulation arms race quite willingly. But the control now in vogue does nothing to diminish the tone transforming, psychedelicizing power of a 1-knob phaser. And thankfully, Orange had the cover of a vintage-re-issue project to justify building this ultra-elegant phase gem. Modulations balance beautifully between low and high frequencies, and, as a consequence, it feels open, clear, and dimensional.
$249 street, orangeamps.com
MXR Duke of Tone
Lest any of you out there worry, the partnership between MXR and Analog Man’s Mike Piera that yielded the Duke of Tone is no mere marketing exercise. The DOT is built to a very high standard of quality that we don’t often see in affordable mini pedals. Most importantly, it sounds fantastic and is worthy company for the Analog Man pedals with which it shares lineage. At least for this reviewer, the boost is the highlight. But all three modes—boost, distortion, and overdrive—exhibit a smooth, robust voice that can save an otherwise lackluster tone in a flash.
$149 street, jimdunlop.com
MXR Duke of Tone Demo | First Look
Session ace Shawn Tubbs’ signature overdrive is a mid-gain wonder. It’s very midrange-forward, but the response of the EQ controls on both sides offers tone options that range from Mike Campbell chime to Dumble-influenced lead sounds. A standout feature is the tilteq control, which allows for surgical sculpting of frequencies on the fly without any hassle.
$269 street, revvamplification.com
Plus! Read the full reviews on PG.com of December’s Premier Gear Award winners: the PRS Horsemeat Transparent Overdrive and Mary Cries Optical Compressor, the Boss Space Echo, the Dr. Z Z-28 Mk. II, and the Origin Effects Halcyon.