The 60+ guitars, amps, pedals, basses, and accessories that stood out from the crowd and earned our coveted Premier Gear Award this year.
Reverend Triad
Reverend basses takes stylistic influences from 1950s cars and sci-fi movies, and the Triad is no exception. Its 5-piece roasted maple-and-walnut neck has a satin finish that looks and feels like an older bass, and the 34"-scale pau ferro fretboard offers a warm, yet snappy attack. Three proprietary Jazz Bomb pickups and a 5-way switch deliver distinct and versatile voices, making it a go-to bass for stage and session work.Read the review
$999 street, reverendguitars.com
Watch the Review Demo:
Plus! December Premier Gear Award Winners!
Read the full reviews on the pages indicated below!
1. Peavey Invective.MH — $699 street, peavey.com
2. Chase Bliss Dark World — $349 street, chaseblissaudio.com
3. Comins CGS-16 — $2,399 street, cominsguitars.com
4. Ernie Ball Music Man Short-Scale StingRay — $1,999 street, music-man.com
5. EBS MicroBass 3 — $349 street, ebssweden.com
Featuring a unique Blah Blah Circuit for expressive filtering effects, versatile tone control, and premium Morley buffer circuit. Available exclusively through the LERXST Reverb Store for $299.
Spawned out of Lifeson’s long-time appreciation and use of the classic wah-wah effect, the Lerxst Blah Blah is a new breed of wah designed specifically for adventurous tone chasers. The Blah Blah uses Morley’s iconic switchless optical wah circuit as a springboard, carefully tuned by Lifeson and the engineers at Lerxst and Morley for an expressively vocal response that is equally usable in both classic and modern applications.
“Wah pedals have been an essential tool of sonic expression for me since the ‘Fly by Night’ album,” explains Lifeson. “With the ‘wah’ side of the Blah Blah, we really wanted to capture that classic sound while also giving it a wide enough frequency response to suit modern players.”
“The guys at Morley have designed some of the greatest wah pedals ever, so it was a natural collaboration to work on this project with them, and also see where we could take it next.”
The Blah Blah’s namesake Blah Blah Circuit is where the pedal sets its sights, and sounds, squarely on the future. Taking inspiration from Lifeson’s immediately recognisable Rock & Roll Hall of Fame Induction acceptance speech from 2013, the Blah Blah Circuit is a cornucopia of expressive, touch-sensitive filtering effects that evoke both vocal and synth-like sounds out of whatever instrument that is run through the pedal – including a recognizable ‘Blah’! The Blah Blah’s onboard tone control allows precise EQ control of these effects to make them fit perfectly alongside anything else in your pedalboard, or mix.
"Alex wanted us to create something unique and inspiring," said Morley Owner Scott Fietsam. "We certainly achieved the 'Blah-talkie' sound, but what surprised us was how versatile this pedal turned out to be. It opened up numerous sonic possibilities in both clean and distorted modes, making it enjoyable for a wide range of players."
Blah Blah Specifications
- Iconic Morley Switchless Optical Wah Circuit
- Switchable Blah Blah Circuit for Expressive Filtering Effects
- Versatile Tone Control for Blah Blah Circuit
- Premium Morley Buffer Circuit
- Sturdy Steel Enclosure
- Heavy-Duty Footswitch, Knobs, and Jacks
- LED Indicator Light
- 9V DC Negative Center Power
- Current Draw: 300mA
- $299
Asked to comment on the implications of such a unique wah pedal in a crowded market of effects, Lifeson said the following: “Blah blah blah, blah blah, blah. Blah blah blah blah, blah blah. Blah, blah blah blah. Blah blah. Blah blah. Blah blah blah, blah blah, blah blah blah. Blah? Blah blah blah, blah blah, blah. Blah blah blah blah blah blah blah. Blah blah blah, blah blah, blah.”
For more information, please visit lerxstamps.com.
With a few minor fingering adjustments another world of musical expression can be unlocked.
Beginner
Beginner
- Look at the pentatonic scale in a new light.
- Understand how to navigate diagonally across the fretboard.
- Use this newfound knowledge to create more musical phrases.
Likely the first melodic device any improvising musician learns is the pentatonic scale. It’s a simple pattern to learn on guitar, it’s easy to play, and it always sounds “correct.” It contains mostly the “good” notes and usually you don’t need to think too much about which notes to avoid. What’s not to love? After a while, however, a certain sameness begins to emerge, and one begins to wonder, “Is there something more here?” Well, it has much more to offer than what you see on the surface.
How do you play a pentatonic scale?
One of the first shapes that guitarists learn when starting to explore the pentatonic scale is the ubiquitous box in Ex. 1. And why not? It’s a simple pattern to memorize, it’s easy to play, and you can get musical sounding results almost immediately. In fact, if you play these notes in just about any order, play in time, and exercise some logical phrasing, you can’t really mess it up.
There is a wealth of guitar vocabulary in this simple device. Eric Johnson, Eric Clapton, Eric Gales, and other legendary guitarists not named Eric have demonstrated this for decades. However, the two-note-per-string nature of the pattern can limit your phrasing. Let’s dive into a few simple things we can do to inject some articulations into an otherwise choppy march across the fretboard.
This isn’t a “Stop doing this and start doing that” proposition but rather a supplement to your bag of badassery that you’ve accumulated. Let’s remap some of the notes found in Ex. 1 to other strings to elongate the scale along the neck rather than simply march across it (Ex. 2).
Notice that we alternate between two notes on a string and three notes on a string. Add some strategic slides into the mix and our little fretboard square dance gets a welcome dose of swagger. Naturally, we will need to practice this descending pattern (Ex. 3) as well. These fingerings have a certain hipness that the box lacks.
Ex. 4 features a nice blues gesture that exemplifies the articulations that this fingering invites. Judicious use of bends, slides, hammer-ons, and pull-offs make the magic happen.
Double-Stop the Presses
The slippery fourths found on adjacent strings combined with an eighth-note delay summon an early ’80s funk/pop feeling. Play Ex. 5 with long legato notes and have a glass of chardonnay on hand for a funky smooth-jazz vibe.
Two often-used tricks are the sliding fourths/hammer-on double-stop phrases in Ex. 6. Once again, it’s the strategic use of slides, hammer-ons, and pull-offs that make the slinky goodness happen. These tasty double-stop licks are useful chordal accents in your solos or R&B-style rhythm parts. Even though Ex. 6 is a bucket of pentatonic scale phrases over a I–VIm–IIm–V chord progression, the double-stops provide a harmonically informed sound. Think Mateus Asato, Stevie Ray Vaughan, or Jimi Hendrix.
Get Louder … Without Turning Up
Did you know that two notes are louder than one? How ’bout that? Next time you’re playing at your local blues jam and the well-intentioned but way-too-loud rhythm player tempts you to turn up your amp, don’t do it. You’ll just add to the problem. Instead try some double-stops (Ex. 7). It transforms otherwise basic melodies into majestic, purposeful, and yes, louder statements without adding to a never-ending volume war.
Peace, Love, and Understanding
Play some nice rhythm guitar without banging out all those barre chords. Yes, barre chords are useful but sometimes it’s just way too much. Guitarists already have to deal with the stigma of being eye-rolling loud. Why is that? The bottom portion of the chord (the power chord part) is an essential sound if you’re in a rock band. But in a blues, R&B, jazz, or country setting, it can sound muddy (and kinda stupid). The low-register notes are getting in your bass player’s way and the keyboard player, by default, is already annoyed at you. Let’s be friends with these folks and sound better in the process.
Reimagining the pentatonic box will add depth and vibe to your playing. And using smaller double-stops versus banging out giant fists-full of notes not only tends to make the band sound better but they’re easier to play too. As a bonus you just may find that your solos sound fuller and more interesting. Don’t forget to acknowledge the perceptive audience that applauds your tasty masterpiece.
Blackstar's 30-watt combo amp with two footswitchable channels, ISF tone control, and built-in tape delay. Available in vintage cream or black finishes.
The features of the Debut 30E have been carefully selected to cover all the needs of an aspiring guitarist; two footswitchable channels, our patented ISF(Infinite Shape Feature) tone control, series effects loop, and a built-in tape delay. This amp is available in two gorgeous vintage finishes; cream covering with oxblood fret, or black and ‘biscuit’ basketweave.
Debut 30E Combo Features
- 30 Watt combo
- 2 Channels – Clean + Overdrive
- Patented ISF tone control
- Line In for jamming along or listening to music
- Speaker emulated Line Out for ‘silent’ practice or recording
- 1x10" custom-designed speaker, producing true Blackstar tones
- Series effects loop
- Stereo playback of Line In sources through headphones
- Dual footswitch control for channel switching
- Compatible with any 2-button latching footswitch (available separately)
- Vintage styling in cream and black options
Debut 30E | No Talking, Just Tones | Blackstar - YouTube
At a recent outdoor NHL Stadium Series performance, it was so cold that my hands went numb. So, I had to improvise. Last month, I wrapped the NHL Stadium Series at Nashville’s Nissan Stadium in front of 68,619 screaming fans and an army of TV production, crew, etc. The network chose to lean into Nashville’s Music City theme by including performances by 12 of the city’s biggest names in music. About a month ago, the director, Michael Dempsey, whom I worked with on several award shows, hired me as the music director. Here’s how it went....