See how a stockpile of customized Gibsons and worn-down Nash Ps provide an intergalactic prog-rock soundtrack to The Amory Wars. Plus, Claudio Sanchez drops news about a Muff-and-Super-Overdrive clone collaboration with Wren and Cuff.
It’s common for prog bands to create a fictitious narrative for their concept albums. Often, the lyrics tell a linear story, while the adventurous, experimental, and elevated musicianship provides emotional support and dynamism to the album’s arc. Some ambitious wordsmiths may even spread their yarn over two albums or releases, but Coheed and Cambria’s Claudio Sanchez has penned an entire science fiction tale called The Amory Wars that has been transcribed in comic books and graphic novels published by Evil Ink Comics. All but one of the band’s 10 albums, including the brand-new Vaxis–Act II: A Window of the Waking Mind swim in his solar system called Heaven’s Fence—a collection of 78 planets and seven stars wholly envisioned by Sanchez. (The Color Before the Sun, from 2015, is the lone release not centered in The Amory Wars universe.)
Crafting a daring soundtrack for these narratives requires an equally bold group of musicians. Through two decades, this fearless foursome have incorporated prog orchestrations, synth flourishes, pop-punk hooks, menacing metalcore, hardcore aggression, and electronica ballads—and yet it’s always felt like Coheed. No matter the direction they turn or how their colors and hues shift, it’s unmistakable. Having no genre allows for all genres.
It’s worth noting the band’s name is lifted from two main characters in The Amory Wars. Their original name in the late ’90s was Shabütie, and that trio (consisting of guitarist/vocalist Sanchez, bassist Michael Todd, and drummer Nate Kelley) released three EPs before rebranding for Coheed’s 2002 debut, The Second Stage Turbine Blade, released on Equal Vision Records. That first Coheed lineup included the Shabütie carryovers of Sanchez and Todd, and welcomed guitarist Travis Stever and drummer Josh Eppard. (The earliest incarnations of Shabütie included Stever, too.) The band’s current lineup has been solid since 2012, when bassist Zach Cooper joined.
Coheed’s headlining 2022 run is a dual celebration. They’re honoring the 20th anniversary of their debut and the just-released Vaxis–Act II: A Window of the Waking Mind. Before their July 23 show at Nashville’s Municipal Auditorium, PG’s Chris Kies hosted conversations that covered upgrading Gibsons, overhauling an entire bass rig during shutdown, and how a stolen Big Muff eventually led to a signature sound and pedal.
Brought to you by D'Addario XPND Pedalboard.
A Golden Accident
In a recent Big 5 video for PG, Coheed and Cambria’s Travis Stever held up this Gibson Les Paul Standard goldtop as his favorite guitar, even though this was a free throw-in from Gibson for a custom order we’ll see in the next slide. He favors this Les Paul to the rest of his Gibsons because it’s heavy in sound and stature. “It gives me something to grab onto,” comments Stever.
He’s since upgraded it with a set of Gibson ’57 Classic Plus pickups and a Bigsby vibrato. (All of Travis’ axes have either ’57 Classic or ’57 Classic Plus humbuckers except for one Gibson we’ll meet in a minute.) He uses Ernie Ball Skinny Top Heavy Bottoms (.010–.052) on all his electrics and hammers away with custom Dunlop Tortex picks.
The World in My Hands
“Growing up, a friend of ours’ father had a ‘Black Beauty’ Gibson Les Paul, and I remember whenever I picked that guitar up, I felt I had the world in my hands, so I always wanted one,” summarizes Stever. When the opportunity to order a Les Paul Custom introduced itself, Stever decided to make it extra special by requesting the body have the“Keywork” engraved on its top. The “Keywork” is the band’s defacto logo that symbolizes the energy stream among the planets in the fictional Heaven’s Fence universe.
It’s Not a Sticker!
A detailed closeup provides scratchy evidence that the Keywork logo is etched into the top and not a resilient sticker.
Slim but Sturdy
Here is Stever’s Gibson ES-137—reserved for the heaviest songs like “Beautiful Losers” and “Toys,” and tuned to drop D. The svelte semi-hollow has a mahogany center block running through its core, giving it some Stever-needed heft. This one still has its stock Gibson 490R and 498T humbuckers.
Balancing Bigsby
Stever’s crafty tech Ryan Ashhurst added the gold Bigsby to the 137’s slightly carved top. If you look closely, you’ll notice the back end of the tailpiece is floating off its curved shell.
Nothing Else Matters
While recording 2018’s Vaxis–Act I: The Unheavenly Creatures, Travis took a break from tracking and went to a Guitar Center in Paramus, New Jersey, to clear his head. He fooled around with this Gibson ES-335 and in a blink 90 minutes went by. “When I go to a guitar store, I still like to keep a mindset of a kid where all my dreams can come true through this instrument,” admits Stever. “I played a red ES-335 for so long at that store that nothing else mattered.” He didn’t leave the shop that day with a new friend, but he quickly went online to Chicago Music Exchange and ordered the above sunburst 335. It currently gets stage time for “Blood Red Summer.”
Backup Beauty
This classy-looking ES-335 is a backup for the previous sunburst model.
Sunburst Sidekick
This snazzy acoustic is a Gibson Songwriter Standard EC Rosewood that Travis busts out for the pre-show VIP performance of the song “Our Love” off Vaxis–Act II: A Window of the Waking Mind.
Don’t Think About It
When we filmed with Coheed in 2013, they were an early adopter of the Fractal Audio Axe-Fx II. This is that same unit. In our new Rundown, Stever admits that his core patches haven’t changed in seven or eight years, and everything is based around the Mesa/Boogie Mark V. A Matrix GT1000FX powers the cabinet. All his guitars run through a Shure AD4Q wireless that splinters into four inputs thanks to the Radial JX-42 guitar and amp switcher. (Not pictured: The JX-42 is controlled by a Radial JR-5 remote.)
Four on the Floor
Here’s how Stever controls everything with his feet: a pair of Mission Engineering foot pedals (a VM Pro at left and an EP-1 on the right), a Fractal Audio MFC-101 Mark III MIDI foot controller, and a TC Electronic PolyTune.
“I’m a Bit Outrageous…”
“James Hetfield plays an Explorer. An Explorer is kind of outrageous. I’d like to think I’m a bit outrageous, so I got it,” admits Claudio Sanchez. The creator and visionary behind The Amory Wars narrative favors a space-age instrument for his stage persona. His longtime squeeze is a 1980 Gibson Explorer E2 that left the Kalamazoo factory on his brother’s birthday (01/04/1980). He scored it at Mike’s Music in Cincinnati, Ohio, before a gig at nearby Bogart’s. He found it tucked in the shadows behind a big Ampeg SVT stack. As with all of Sanchez’s live guitars, he puts a Bare Knuckle Nailbomb humbucker in the bridge. This particular Explorer got an upgraded TonePros LPM04 Tune-o-matic bridge and tailpiece. And all his electrics take Ernie Ball 2240 Regular Slinky RPS strings (.010–.046).
Arm & Hammer
Check out the wear and tear Sanchez puts to the body of his No. 1 E2.
Can’t You See Me Looking?
The E2 headstock has spent plenty of time in the ER.
E2 Part Deux
Earlier this year, Claudio eyed this early ’80s Explorer E2 at a shop in Asheville, North Carolina. This gem was in too good a condition for Claudio to drop the coin, so he put it back on the shelf. Little did he know that his wife, Chondra Echert, and guitar tech Kevin Allen combined efforts and scooped the E2 for Claudio’s 44th birthday. This one has a set of Bare Knuckle Nailbombs in it.
It's Yours Now
Claudio is unsure if Gibson loaned him or gifted him this 1963 Les Paul SG Custom Reissue with a Maestro Vibrola that was pre-dinged by their Murphy Lab team. He uses this one on “Blood” and has the middle humbucker engaged for an approximated Andy Summers sound.
Double-Oh-My-Heavens
While recording Vaxis–Act I: The Unheavenly Creatures, Claudio encountered a pair of dashing Gibson Customs vying for his attention. He tried to decide between the Flying V and Explorer (which is like having to choose your favorite Bond, between Connery or Craig). Not able to make his mind up, he pulled the trigger and brought this devilish duo into his ranks. Sanchez’s reasoning on the transaction: “I don’t typically buy guitars that often, so I guess I was overdue and bought them both.”
Since the Beginning
This Gibson SG Special was used on the first Coheed and Cambria tour. Unfortunately, during that initial trek, Sanchez busted the headstock. Unbeknownst to him, this is a relatively normal repair that any experienced guitar tech has encountered. Alas, Sanchez thought the guitar was finished, so he pulled it out of rotation. He lost track of it and years later he saw a social-media post of a guitar that resembled his first SG. He noticed the body’s chipped paint, the Puerto Rican flag behind the tailpiece (getting warmer), and the alarm in his head went off when he noticed the headstock was broke. He reached out to the person and during the band’s next trip through Chicago he made a trade to reacquire this ivory SG Special.
Good as Glue
Sanchez’s tech Kevin Allen gave the fallen Gibson some serious TLC and now it makes an appearance every night.
Don’t (or Do) Hold Your Breath
If you’ve seen the band’s video for “The Suffering” off Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness, you’ll recognize this 2000s Gibson ’76 Explorer reissue. This was the band’s first album to crack the top 10 of the Billboard 200. In the Rundown, Claudio notes this is his only live guitar that doesn’t have a headstock wound.
A Gift for Ghost
While there was confusion if an earlier Gibson was a gift or a loaner, this J-45 Standard was most certainly given to Claudio. He uses it for the song “Ghost.”
Shred Stand
For the top of “Window of the Waking Mind,” Sanchez does his best Yngwie and saddles up on this Taylor 512e. It has a Western cedar top, tropical mahogany back, sides, and neck, ebony fretboard, and Taylor’s Expression System 2 electronics.
Kashmir Clone
“When I got this thing, it was sort of a gimmick,” concedes Sanchez. “I wrote and recorded ‘Welcome Home’ and acknowledged that there is certainly some ‘Kashmir’ DNA in that song, so I told management ‘let’s show the homage a little clearer and get this Gibson EDS-1275.” This “gimmick” closes out every Coheed show.
Same As It Ever Was
Like Stever, Claudio is still rocking the same Fractal Audio Axe-Fx II from the 2013 Rundown. His most-used patches still have the same heartbeat. His main distortion tone is based on two Marshall Super Leads, with a wah and pitch shifter set to Mission Engineering EP-1 expression pedals onstage. The medium-gain mood is based on an old Orange head with various delays and effects, and his clean is modeled after a Fender brown-panel amp with delay and compressor. He notes in this Rundown that new wrinkles include a patch with chorus and another with fuzz and octave for “Shoulders.”
Like Stever, a Matrix GT1000FX powers the Fractal, a Shure AD4Q wireless unit gives him maximum movement onstage, and a rackmount Radial JX62 handles wireless pack switches for guitar changes.
Sanchez’s Signature Stompbox
For the band’s 20th anniversary, Claudio worked with Wren and Cuff to recreate the sound he used on the band’s earliest work. Sanchez originally had a version VI Electro-Harmonix Big Muff with a Boss SD-1 Super Overdrive running into it for all his solo tones. Wren and Cuff mastermind Matthew Holl put both circuits (using Claudio’s original Muff) into one box and added some extra tweakabilities, including a clipping dial and mod/stock setting for the SD-1 side and a tone bypass for the Muff. The pedal is still in prototype form (as seen here), but they’re hoping to release it before the end of 2022, capping the anniversary for 20 years of Coheed.
A Teacher’s Muff
How Claudio came to own this Big Muff is a less than prideful story: He stole the pedal from the drawer of his music teacher Bert Hughes. “I was a huge J Mascis fan. I know he used a Big Muff. I had never seen a Big Muff and there it was in front me. I took it,” shrugs Sanchez. Little did he know, Mr. Hughes had acquired that Muff for Claudio, who only found out years later after admitting to his thievery. Upon opening the pedal, the circuit board had “Anna” scribed on its top, so the new Muff-inspired pedal will be called the Anna (as of our publishing date).
The Black Stallion
Bassist Zach Cooper’s No. 1 is a Nash PB63. He loves this black bomber for its chunky neck profile. He said in the Rundown that if he had to play one bass for the entire gig, it’d be hands-down this one. All his basses have been stripped of the tone circuit and replaced their stock Fralins with his preferred Seymour Duncan Quarter Pound P-Bass pickups. All Cooper’s Nash Ps have custom volume knobs he’s scored from Love My Switches. This one rides in standard all night and takes Ernie Ball Regular Slinky Bass strings (.045–.105).
The Alligator Bass
Anyone who’s purchased a Nash instrument knows that they arrive in a brown alligator-skin case. Cooper ordered himself the above Nash PB57 and when it arrived his daughter helped him unbox it. Her gut reaction to its case and the green color was to call it the “alligator bass” and to seal the nickname he put a ’gator sticker on its back near the neck joint. This one stays in E-flat tuning and takes Ernie Ball Power Slinky Bass strings (.055–.110).
Creamsicle
Another Nash PB63 handles songs tuned B-E-A-D and takes a custom set of Ernie Ball Super Slinky Bass 5 strings (.060 –.125). The standard Super Slinky Bass 5 set includes a .040 fifth string, but Cooper only plays 4-string Ps in Coheed.
Amp Anomaly
While his guitar-playing colleagues dove deep into the digital realm, Cooper still brings out an amp. His current boom box of choice is an Aguilar DB 751 that runs into a matching Aguilar DB 810 cabinet.
Zach Cooper’s Pedalboard
Another rarity for the Coheed crew is a standard pedalboard. Cooper has a fun batch of stomps that includes a duo of Aguilar units—the Agro and the Octamizer, an old Mantic Effects Vitriol, and a Line 6 DL4 MkII. A Boss TU-2 Chromatic Tuner keeps his basses in check.
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Blair White, a pedal consultant to the pros and owner of Nashville’s Eastside Music Supply, shares his favorite contemporary pedals for recreating—and reimagining—the gnarliest sounds of the past.
I love fuzz. I am so grateful for fuzz. I don’t know who or where I’d be—at least musically—without it. And whether or not you like using fuzz, you love fuzz, too. You just might not realize it. Fuzz pedals, which are considered loud, rowdy, and unnecessary musical devices by some tonal purists, have changed the world.
From Jimi Hendrix to Jack White, David Gilmour to Billy Corgan, fuzz pedals have not only shaped guitar sounds but shaped the way we think of and experience guitar. Starting in the 1960s, they have steered culture as the musical voice of protest (Hendrix’s “Machine Gun,” anyone?) and the communicator of a generation’s angst . And don’t forget the more recent doom and stoner genres! Also, some tones that you perceive as clean or merely overdriven are actually created by finding the sweet spot between a fuzz pedal and a guitar’s volume dial.
There are tons of different fuzz pedals out there right now, so navigating all of your options can seem like a difficult task. We truly live in the golden era of gear and, as a pedalhead, I’m here for it. But the roots of fuzz run deep to earlier eras. So in that spirit, here are some of my favorite modern fuzz boxes that nail the tones of yesteryear—without the vintage-market price tag. Enjoy! And keep thinking fuzzy!EarthQuaker Devices Hoof ($179 street)
The Hoof is a flagship pedal from this Akron, Ohio-based company, and for good reason. This pedal’s circuit is rooted in a specific tall-font Sovtek Big Muff owned by the Black Keys’ Dan Auerbach. According to Jamie Stillman, owner of EQD, Auerbach’s favorite Big Muff didn’t sound quite like other green Russian Big Muffs he’d played, so he approached Stillman to recreate its hairy goodness. The Hoof is a hybrid of germanium and silicon transistors—a modern variant of the Muff’s legendary, strictly silicon sound. While the original is a 3-knob fuzz (volume, tone, and distortion), the kicker here is a fourth “shift” control that allows you to dial in additional midrange to your liking. Want that doom-y wall of sound? It’s here. Need a bit more string articulation for your riffs? It can do that as well. Built tough, the Hoof is extremely easy to use to get killer vintage fuzz tones and will take a beating on the road.
Way Huge Swollen Pickle ($149 street)
Star designer Jeorge Tripps has had a huge impact in the pedal world for decades. The Swollen Pickle is one of the staples in his creative lineup. What started as a 3-dial Big Muff-style fuzz (See a pattern here?) took on a life of its own with the addition of “filter” and “scoop” controls. Between these two knobs, the sonic landscape is huge... you could even say way huge. The newest version of the Swollen Pickle features additional clipping options under the hood that allow you to tweak further, should you feel the need. But out of the box, this fuzz is a ripper capable of searing leads and wall-of-sound chords. Built like a tank, with a reasonable market price, I’m a big fan of this one. It’s great for guitarists interested in a Big Muff-rooted fuzz without committing to that voice exclusively. Definitely check it out!
Mythos Pedals Golden Fleece ($139 street)
Sometimes simple and stupid is the best approach, and it absolutely works with the Golden Fleece. This single-knob, no-nonsense fuzz from Zach Broyles’ company is a fine-tuned machine with a minimum of options. All the tough decision making has already been done and built into a germanium-and-silicon-based circuit. So, don’t let this pedal’s size and lack of additional controls scare you. It is a monster fuzz pedal.
With its single “more” knob (the output volume), touch dynamics, the pickup selection on the guitar, and guitar volume and tone settings play a huge role in the results. It cleans up extremely well and can go from light and crunchy to full-on saturated awesomeness. Tone-wise, it lives in a unique vintage-fuzz sweet spot. Muff-y? It kinda can be, but it has much more clarity and string definition. Fuzz Face-y? Yes, but it’s much smoother, while simultaneously more aggressive. You’d think a fuzz pedal with one knob would be easy to explain, but this pedal just does so dang much. I’m a huge fan of the tones that this stomp offers—especially at $139, and with the tiny amount of precious pedalboard real estate required. Mythos calls it, “your gateway pedal to fuzz.” Fair enough!
Analog Man Sun Face ($195 street)
What’s a list of killer vintage-sounding fuzzes without an Analog Man pedal? It’s no secret that Mike “Analog Man” Piera sits high up on the list of vintage-fuzz experts, and his constantly in-demand pedals (you’ve heard of the King of Tone?) are a direct result of his passion and knowledge of old-school dirt. I could write a whole article on his smartly crafted fuzz pedals alone. But the Sun Face, as the name might lead you to believe, is Analog Man’s take on the legendary Dallas Arbiter Fuzz Face—that little round box championed by guitar heavyweights like Hendrix, Stevie Ray Vaughan, Eric Johnson, and Pete Townshend. But Analog Man doesn’t just make a one-size-fits-all Fuzz Face clone. Piera offers a dozen different variations of the pedal, with a multitude of choices. Both silicon and germanium transistors are available, as well as low- and high-gain options, which are a result of Mike carefully hand-selecting transistors that allow us nerds to get very specific about what flavor of Fuzz Face sound we want in our rig. The Sun Face is a top-quality build from a top-quality builder. You really can’t go wrong with any variation if you’re chasing the vintage-fuzz dragon.
Red River Amplification Bonetender ($199 street)
The Bonetender was created out of a love for the classic MkII Tone Bender circuit, which Sola Sound debuted in 1966. This device has two knobs, three transistors (Russia-made NOS MP41A “flying saucer” transistors, for the super-nerdy), and a name that bears its influence on its sleeve. David Britton of Red River Amplification in Nashville has nailed the classic Tone Bender sound. He hand-picks his PNP germanium transistors to craft a warm, round voice, with insane sustain and exceptional clean-up. This straight-to-the-point 2-knob (dirt and volume) fuzz provides instant joy for players of all skill levels and is easily one of my favorite MkII-inspired fuzz pedals.
By the way, since you’ve seen the terms germanium and silicon come up in this article several times by now, I should probably give a quick explanation of what they are, for fuzz novices. Silicon and germanium transistors are semiconductors that amplify or alter electronic signals, like those produced by your guitar that travel through your cable. Silicon transistors are more modern, and were developed in the 1950s. Germanium transistors were developed in the 1940s, and opened the door to solid-state electronics. The earliest germanium fuzz pedal, the Maestro FZ-1 used by Keith Richards on “Satisfaction,” was introduced in 1962. The first silicon pedal appeared in the late '60s. Generally, silicon is less responsive to guitar volume attenuation but more temperature-stable than germanium, which can be fussy in hot or cold weather, but pedals using either germanium or silicon can blow a hole in the side of a barn. Okay?
ZVEX Fuzz Factory ($319 street)
Where to start with this one? Odds are you know about this pedal. It’s a staple on so many rigs. It has inspired thousands of guitar players, as well as other pedal builders. It has been loved and used by fuzz purveyors like Trent Reznor and Billy Gibbons. And it is a modern classic. It started as a Fuzz Face clone, but the Fuzz Factory quickly carved its own path in the pedal world, though it’s a bit divisive among players due to its chaotic nature. The Fuzz Factory, which debuted in 1995, was one of the first pedals that purposely use feedback-loop-style self-oscillation—something that other builders at the time tried to avoid. But this stomp’s self-oscillation can easily be tamed and is part of what makes it so damn versatile. The Fuzz Factory is perhaps one of the most flexible fuzz pedals ever created, capable of nearly any tone you’ve heard on classic records or sounds you hear in your mind. Ripping Velcro-style Jack White vibes, spikey “Satisfaction” leads, or full-blown wall-of-sound fuzz are all here! If you're not scared of fuzz pedals with more than three knobs, the five on this stomp (volume, gate, compression, drive, and stability) allow you to explore fuzz in new, creative ways.
Benson Amps Stonk Box ($279 street)
Chris Benson quickly went from unknown apprentice at Verellen Amplifiers and repair tech at Old Town Music in Portland, Oregon, to in-demand, consistently backordered boutique amp builder, and for good reason. Also, his contributions to the pedal world have been fantastic—specifically his creation of what he terms “automatic thermal bias technology.” Essentially, he invented a system that regulates and stabilizes the bias of germanium transistors in a pedal, no matter how hot or cold it is outside. This is a big deal! And the Stonk Box? It is a Tone Bender MkI-inspired device that excels in vintage fuzz voices, with tone, volume, filter, and trim controls. It nails the FZ-1, MkI, and Zonk Machine sounds (which are all basically the same thing). It does the sought-after, beautiful, blossoming fuzz sound. And it can surely handle your Keef riffs, but the range of this high-quality build goes well beyond that.
Rude Tech 3MuF-14 Distortion/Fuzz ($255 street)
Jesse Rhew, of Rude Tech in Nashville, really knocked this one out of the park. Taking three well-loved and legendary Sovtek Big Muff circuits—the "Civil War," "Green Russian," and "Black Russian"—and putting them in one enclosure is cool, right? But the modern improvements and additions included in the 3Muf-14 make these classic sounds more usable in any setting. If you’ve played a Big Muff-style circuit, you know it’s very common for your guitar or bass to lose presence as soon as you turn the Muff on in a live-band setting. Because of this, a lot of players run their Muff-style fuzzes into mid-heavy overdrives or EQs, so they don’t get lost in the mix. The 3MuF-14 adds a mid-focused drive circuit with its own footswitch, so your sweet riffs aren't left out of the fun. As you’ve gathered by now, there are lots of killer Big Muff-style circuits out there, but if you’re looking for a gig-able option that offers just enough tweak-ability without menu diving, the 3MuF-14—with volume, tone, and sustain dials, plus toggles for tone and Muff-style selection—should be on your watch list.
But Wait, There’s More!
These are my favorites, but there are dozens more fuzz pedals, at all kinds of price levels and control options, worth investigating. See Ted Drozdowski’s companion story for a rundown of many of these, and, meanwhile, here are a few more pedals that are on my radar right now, and the historic devices or characteristics they emulate.
• JAM Pedals Octaurus (currently sold out): For fans of the Univox Super-Fuzz, Shin-Ei Companion, and Tycobrahe Octavia.
• Seeker Electric Effects SUPA (currently sold out): MkI and MkII Tone Bender
• Yesterday Effects Peach Fuzz ($200 street): Frantone Peach Fuzz
• ThorpyFX Field Marshall ($254 street): Lovetone Big Cheese
• Death By Audio Fuzz War ($180 street): Inspired by the Colorsound Supa Tonebender
• Spaceman Effects Spacerocket (currently sold out): An “intermodulation” fuzzLegendary shredder Joe Satriani was the first ever guest on Wong Notes, so it makes sense that he’s the first returning sit-in with Cory Wong.
He teases a new song with Sammy Hagar, plus delves into the intricacies of Eddie Van Halen’s playing and why he can’t quite replicate it—every guitarist has their strengths and deficiencies, claims Satch. And believe it or not, Satriani didn’t figure standing in front of huge crowds to be one of his strengths when he was younger. Fate figured otherwise.
Satriani goes deep on one of his favorite tools, the Sustainiac pickup, and talks about how it’s defined his playing—just like his trademark sunglasses, even in dark rooms. (“Stupid idea, right?” he jokes.)
And young guitarists, listen up: Satriani has some wise words on the importance of rigorous practice while you’re budding on the instrument. The big takeaway? Learn. Your. Scales.
The New ToneWoodAmp2 is smaller, lighter, rechargeable, and offers foureffects simultaneously, along with a mobile app and much more.
ToneWoodAmp has released the second generation of its popular accessory that brings a wide array of special effects to acoustic guitars without needing to plug into an external amplifier.
The ToneWoodAmp2 has been redesigned with portability, ease of use, and enhanced performance in mind, featuring a lighter and more compact design while adding more features and capabilities. The new ToneWoodAmp2 has a powerful DSP, a rechargeable battery that lasts for more than 10 hours, and it provides more creative tools as well as the ability to play with up to four simultaneous effects. A new smartphone app allows users to operate the device from either their phone or the device itself.
Reverb Basics | ToneWoodAmp2 Effects Guide
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.The upgraded product is also a fully professional preamp. In addition to the built-in effects, it includes a powerful EQ, compressor, “Feedback Assassin” tools, and more. “While the firstToneWoodAmp provided a breakthrough technology in how acoustic guitar players experience their guitar playing mostly off-stage, the new ToneWoodAmp2 doubles as an on-stage professional pre-amp device with many new capabilities, a perfect tool for performing musicians who need a professional set of tools in a very small footprint package,” says Ofer Webman, CEO of ToneWoodAmp and its inventor.Like the original ToneWoodAmp, the ToneWoodAmp2 attaches to any acoustic guitar via an innovative magnetic X-brace. A new and unique guitar attachment system, called the LiftKit, allows the second-generation device to attach to any acoustic guitar, even a guitar with a curved back.
TonewoodAmp2 features expanded capabilities by its new smartphone app: With its built-inBluetooth®, guitarists can now connect the ToneWoodAmp2 to a free smartphone app for extended control, intuitive adjustments, preset management, and on-the-fly tweaks. The new app is compatible with all modern iOS and Android devices.“The new device is a massive improvement from the original ToneWoodAmp,” says MikeDawes, the U.K.-based guitar player who has twice been named the Best Acoustic Guitarist in the World Right Now by MusicRadar and Total Guitar's end-of-year poll. “This thing is not only reverb or delay or chorus on your guitar it’s everything and more at once. The reason why this is so good is that it’s reducing every barrier that I would have to creativity.”The new ToneWoodAmp2 is available for $300.
For more information, visit www.tonewoodamp.com.
Paul Reed Smith also continues to evolve as a guitarist, and delivered a compelling take on Jeff Beck’s interpretation of “Cause We’ve Ended As Lovers” at the PRS 40th Anniversary Celebration during this year’s NAMM.
After 40 years at the helm of PRS Guitars, our columnist reflects on the nature of evolution in artistry—of all kinds.
Reflecting on four decades in business, I don’t find myself wishing I “knew then what I know now.” Instead, I’m grateful to still have the curiosity and environment to keep learning and to be in an art that has a nonstop learning curve. There’s a quote attributed to artist Kiki Smith that resonates deeply with me: “I can barely control my kitchen sink.” That simple truth has been a guiding principle in my life. We can’t control the timing of knowledge or discovery. If profound learning comes late in life, so be it. The important thing is to remain open to it when it arrives.
I look at what’s happened at PRS Guitars over the last 40 years with real pride. I love what we’ve built—not just in terms of instruments but in the culture of innovation and craftsmanship that defines our company. The guitar industry as a whole has evolved in extraordinary ways, and I’m fortunate to be part of a world filled with passionate, talented, and good-hearted people.
I love learning. It may sound odd, but there’s something almost spiritual about it. Learning isn’t constant; it comes in stages. Sometimes, there are long dry spells where you can even struggle to hold onto what you already know. Other times, learning is sporadic, with nuggets of understanding appearing here and there that are treasured for their poignancy. And then there are those remarkable moments when the proverbial floodgates open, and the lessons come so fast that you can barely keep up. I’ve heard songwriters and musicians describe this same pattern. Sometimes, no new songs emerge; sometimes, they trickle out one by one; and sometimes, they arrive so quickly it’s impossible to capture them all. I believe it’s the same for all creatives, including athletes, engineers, and everyone invested in their art.
Looking back over 40 years in business and a decade of preparation before that, I recognize these distinct phases of learning. Right now, I’m in one of those high-gain learning periods. I’ve taken on a teacher who is introducing me to concepts I never imagined, ideas I didn’t think anyone could explain—things I wasn’t even sure I was worthy of understanding. But when he calls and says, “Have you thought about this?” I lean in, eager to absorb, not just to learn something new for myself, but because I want him to feel his teaching is appreciated, making it more likely that the teaching continues.
“Learning isn’t just about accumulating knowledge; it’s about applying it, sharing it, and evolving because of it.”
Beyond structured teaching, learning also comes through experience, discovery, and problem solving. We recently got our hands on some old, magical guitars, vintage pickups, microphones, and mic preamps. These aren’t just relics; they’re windows into a deeper understanding of how things work and what the engineers who invented them knew. By studying the schematics of tube-mic preamps, we’re uncovering insights that directly influence how we wire guitar pickups and their electronics. It may seem like an unrelated field, but the many parallels in audio engineering are there if you look. Knowledge in one area has a ripple effect, unlocking new possibilities in another.
Even as I continue learning, I recognize that our entire team at PRS is on this journey with me. We have people whose sole job is to push the boundaries of what we understand about pickups, spending every day refining and applying that knowledge so that when you pick up a PRS guitar, it sounds better. More than 400 people work here, each contributing to the collective advancement of our craft. I am grateful to be surrounded by such a dedicated and smart team.
One of my favorite memories at PRS was at a time we were deep into investigating scale lengths on vintage guitars, and some unique pickup characteristics, when one of our engineering leaders walked into my office. He had just uncovered something astonishing and said, “You’re not going to believe this one.” That excitement and back-and-forth exchange of ideas is what keeps this work so rewarding.
As I reflect on my journey, I see that learning isn’t just about accumulating knowledge; it’s about applying it, sharing it, and evolving because of it. I get very excited when something we’ve learned ends up on a new product. Whether lessons come early or late, whether they arrive in waves or trickles, there is always good work to be done. And that is something I just adore.