The Fly Rig 5 v2 retains the same SansAmp heart, Plexi/Cali distortion and Delay, but adds a few twists and turns.
Clifton, NJ (January 23, 2019) -- The original Fly Rig, introduced in 2014, was a true gamechanger for players in all categories, from touring pros to bedroom hobbyists. At a time when pedalboards were expanding and backs were breaking, the innovative Fly Rig enabled players to slim down without sacrificing great tone, and travel without fear of baggage surcharges and dreaded mystery backlines.
The Fly Rig 5 v2 retains the same SansAmp heart, Plexi/Cali distortion and Delay, but adds a few twists and turns within these sections. New features include switchable Pre/Post Boost up to 12dB, an independent reverb with choice of room size, an effect loop, a tuner, headphone capability and an XLR Output.
Since the debut of the original Richie Kotzen RK5 Signature Fly Rig, Richieās needs have changed, both on and off the road. New to this version is an on/off push-button for the SansAmp section. Richie previously would use his RK5 both with and without the SansAmp engaged. Currently, itās either on or off during stage shows, so he no longer needs a dedicated footswitch. Following the same form factor as later Fly Rigs, the RK5 v2 includes a tuner, headphone capability and an XLR Output. Effects include delay, independent reverb, pre-boost up to 12dB, compression, fuzz, rotary speaker, and Richie Kotzenās signature OMG overdrive.
The Paul Landers PL1 Signature Fly Rig offers two SansAmp channels, one clean (Wasser) and one dirty (Feuer). It also has an independent dual-mode Boost function: a post-SansAmp positive volume boost up to +6dB and ānegativeā boost down to -10dB and a Punch mode to enhance solos with a wide mid-range boost. Effects include Delay with Tap Tempo, Vibrato, and Ambiance.
All utilize included 9V DC Universal Power Supply: Model #DC9. āAuto-switching,ā self-adjusting 100V-240V, 200mA with interchangeable international prong assemblies for use anywhere in the world.
Wanting to streamline and simplify his gear for new projects, Geddy Lee partnered with Tech 21 to design a signature rackmount SansAmp, the GED-2112. This challenging collaboration involved distilling a boatload of equipment into a single rackspace. Stepping up to yet another challenge, Tech 21 further distilled the rackmount into a super-compact, portable pedal format. The SansAmp YYZ offers Geddyās core sound and the versatility for many different styles.
Features include all-analog SansAmp technology to record directly and enhance previously recorded tracks. For live performances, the SansAmp YYZ can drive a power amp and speakers, augment an existing amplifier set-up, or run directly into the mixer of a PA system. A Mix control blends the ratio of high-end studio clean and dirty bass tube amp tones. The Tight button adds definition to notes in cleaner settings and make distorted tones snappier. Other features include a Drive control, active 3-band EQ and Master Volume. Operable with 9V alkaline battery (not included) or optional DC power supply.
The Power Engine Deuce Deluxe is a pumped up version of Tech 21ās former Power Engine 60, which was introduced back in 2001. Tech 21ās original concept for a FRFR speaker cabinet specifically designed for guitar and bass evolved from an overwhelming amount of inquiries as to which amp would be best to use with a SansAmp. Enter the light bulb.
Fast forward to today, this new version consolidates a feature set that can be used for both guitar and bass. The handsome 1x12 rear-ported cabinet is capable of delivering 200 Watts of transparent power with convenient, on-board 3-band, active EQ controls to compensate for challenging venues. Other new features include low and high pass filters, defeatable tweeter, an extension speaker output, headphone output, auxiliary input, and worldwide power supply.
You can use the Power Engine Deuce Deluxe with any direct recording device or pre-amp --analog or digital, tube or solid state --from any manufacturer. You can take your Fly Rig/SansAmp or preamp gizmo du jour, with all those great direct sounds youāve spent so much time creating, out to a gig and simply plug into the Power Engine Deuce Deluxe. It will amplify all your personal settings without giving you any additional tone. So there's no need to labor over readjusting all your parameters that would otherwise be colored by a conventional amp.
An optional 1x12 extension speaker cabinet, Model EX112, is an excellent complement for both the Power Engine Deuce Deluxe and their VT Bass 200 combo amp. Under 25 lbs, it is available with a black grille to match the Power Engine or blue to match the VT Bass 200.
For more information:
Tech 21 NYC
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ās iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RATās unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
āThe Sterling Vermin was born from a desire for something different ā something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,ā says Shawn Wells, MarketManagerāSound, ACT Entertainment, who designed the pedal along with his colleague MattGates. āBuilt in small batches and hand-soldered in ACTās Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.ā
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 pedalthatās 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 affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedalās vintage flavor and striking design.
āFrom low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory ā yet stay tight and controlled ā the Sterling Vermin is a masterclass indynamic distortion,ā says Gates, an ACT Entertainment Sales Representative. āWith premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, itāsa new chapter for RAT.ā
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
Itās tempting to think of this pedal as a joke. Donāt.
It all started a few years ago through a trade with a friend. I just wanted to help him outāhe really wanted to get a fuzz pedal but didnāt have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade Iāve ever made.
Hereās the truth: the Korg Miku is not your typical guitar pedal. It wonāt boost your mids, sculpt your gain, or serve up that warm, buttery overdrive youāve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent thatās based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, itās tempting to dismiss this pedal as just a gimmickāa joke, a collectorās oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But hereās the twist: Some take it seriously and Iām one of those people.
I play in a punk band called Cakrux, and lately Iāve been working with a member of a Japanese idol-style girl groupāyeah, itās exactly the kind of wild mashup youād ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. Itās quirky, beautiful, occasionally maddening, and somehow ⦠just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, Iāve come to appreciate this pedal in unexpected ways. So here are a few things you probably didnāt know about this delightfully strange little box.
Itās Not Organicāand Thatās OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voiceāor even a trumpet. Tube Screamers? Theyāre built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isnāt a personāsheās a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesnāt try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, thereās something oddly poetic about that.
A World-Class Buffer
Hereās a fun fact: I once saw a big-name Indonesian session guitaristāyou know, the kind who plays in sold-out arenasāwith a Miku pedal on his board. I was like, āNo way this guyās busting out vocaloid lines mid-solo.ā Plot twist: He only uses it for the buffer. Yep, the man swears by it and says itās the best-sounding buffer heās ever plugged into. I laughed ⦠until I tried it. And honestly? Heās not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
āThe Miku is one of those pedals that really shouldnāt work for your music, but somehow, it just does.ā
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patienceāand maybe a little spiritual surrender. First off, the tracking can be finicky, especially if youāre using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then thereās the golden rule I learned the hard way. Neverāeverāput anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says āWhat is going on here?ā And donāt even think about punching in while recording. The vocal results are so unpredictable, youāll never get the same sound twice. Mess up halfway? Youāre starting from scratch. Same setup, same take, same chaotic energy. Itās like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, itās made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. Itās like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I canāt help but smile. Itās unpredictable, a little wild, and it feels like youāre jamming in the middle of a bizarre Isekai anime scene. And honestly, thatās what makes it fun.
This thing used to go for less than $100. Now? Itās fetching many times that. Is it worth the price? Thatās up to you. But for me, the Korg Miku isnāt just another pedalāitās a strange, delightful journey Iām glad I didnāt skip. No regrets here.
Ernie Ball, the worldās leading manufacturer of premium guitar and bass strings, is proud to announce the release of the Pino Palladino Signature Smoothie Flats, the newest innovation in flatwound bass strings.
Developed in collaboration with legendary bassist Pino Palladino, these signature sets are engineered to deliver an ultra-smooth feel and a rich, warm tone thatās as versatile as it is expressive. Available in two gaugesāExtra Light (38ā98) and Medium (43ā108)ā Smoothie Flats are crafted with a precision-polished cobalt alloy ribbon for low tension, flexible playability, and deep vintage-inspired sound.
Ernie Ball: Pino Palladino Signature Smoothie Flats Bass Strings
Product Features:
- Precision polished for an ultra-smooth feel
- Cobalt alloy ribbon winding for a rich, deep sound
- Flexible, low-tension design for superior playability
- Trusted by Pino Palladino for studio and live performance
Pino Palladino Signature Smoothie Flats bass strings are available at Ernie Ball dealers worldwide.
Cool compression profile that yields blooming and nasty fuzz with fangs. Simple. Excellent value!
Not a ton of variation in the fuzzās simple controls.
One big, bad, and very boss no-frills fuzz.
On the surface, fuzz is an almost barbarian conceptāa nasty sound thatās easy to grasp in our imaginations. But contrast David Gilmourās ultra-creamy Big Muff sounds with James Gurleyās free and visceral fuzz passages from Big Brother and the Holding Companyās Cheap Thrillsand you remember that two different fuzzes, in the hands of two different players, can speak very different languages. The latter artist concerns us here because Gurley did his work with a Jordan Boss Tone, which is the inspiration for the Ananashead Spirit Fuzz.
Ananasheadās Pedro Garcia has a knack for weirder 1960s fuzzes. HisMeteorite silicon Fuzzrite clone, for instance, is a knockout. This take on the two-transistor Boss Tone is equally thrilling, and genuinely idiosyncratic when it runs at full tilt. It exhibits tasty inherent compression, and transient notes ring out as pronounced and concise before blooming into full viciousnessāa quality that shines when paired with neck-position humbuckers (and which probably made the original circuit appealing to Spiritās Randy California, another 1960s Boss Tone devotee). That tone profile gives the Spirit Fuzz meatiness that stands out among ā60s-style two-transistor circuits, and the sense of mass, combined with the pedalās intrinsic focus, makes it superb for tracking. The Spirit loves humbuckers, which coax real sweetness from the circuit. But it was just as happy to take a ride with a Jaguar bridge pickup and an old Fender Vibrolux with the reverb at 10. Sounds painful, right? On the contrary, it was one of the most haunting fuzz sounds I can remember playing.