Low power is no obstacle to giant sound and tone in this 5-watt, 1xEL84 overachiever.
Carr Amplifiers
Trail Rider Amplifer
he Trail Rider--all you need to climb that hill or win the race--with two classic voices, reverb, and a built-in attenuator. Lightweight and stylish, offered as a 1-12 combo (29 Lbs) or head – the Trail Rider’s single cylinder EL84 cranks out 5 real world watts. Home, studio, small group, or in modern live venues - you can count on the Trail Rider’s ease of use, practical features, ultra high-quality parts, and US made craftsmanship to deliver.
T57
As the Tweed amps and guitar styles of the 50s evolved, a single Tone knob did not seem enough. Mr F worked to add more usable sonic controls over the guitar signal. Just before 1957 the pro level Fullerton amps appeared with two new bleeding edge tone shapers, Treble and Bass. The California Sputnik of equalization. For a few short years this adaptation of the single Tone knob (Treble) and a new low-end volume/low pass filter (Bass) guided the Tweed amps from their origins to the end of the decade with the development of the Treble, Middle, Bass tone circuit in use today. This unique 57 implementation yields a huge range of sounds from wonderfully woolly and broodingly somber tones to ultra sharp astringent pushed highs, naturally with super usable vibes in-between. Cool cleans to extra chewy Overdrive when pushed.
V67
Later, across the sea, a different breakthrough Treble/Bass circuit arrived with Top Boost. Mid 60s guitarists wanted more cut, more top end, and a way to stand out in a mix. The Top Boost circuit, derived (the story goes) from unusual mid 50s American amps, offered an edgy, ‘modern’, Mid scooped and bright sound. The V amp interpretation is known for its chime-to-grind versatility.
Known for his shredding ways, Paul Gilbert shows PG host John Bohlinger his robust musical vocabulary that hinges on hummable melodies and creative chord progressions. Oh, and then there's the whole thing where he wrote his latest album, WROC,around George Washington’s Rules of Civility and Decent Behaviour In Company and Conversation. Another impressive attribbute of Gilbert's is impeccable music intellect recall for songs and lyrics. He claims to have stolen most of what he knows and plays, but we think that's just humility. Enjoy the conversation, camaraderie, and jams with PG and JB!
Jared James Nichols has a few calling cards: his mane of total-rockstar hair, his giant steel-toed boots, and his sweet, stinging Gibson-plus-Marshall shredding. He just released his latest record, Louder than Fate, which landed him on the cover of Premier Guitar’s June issue.
PG’s Chris Kies met up with Nichols at Gym 5 in Nashville to get a look at his revamped, pared-down rig, based around a classic recipe: Gibson guitars, Marshall stacks, and a couple of stomps to push those elements to the edge.
These four electrics are Nichols’ mainstays. The 2025 Gibson Futura, second from the right, has been modded with Seymour Duncan Antiquity pickups and a custom black pickguard. To its left sits a 1952 Les Paul nicknamed “Dorothy,” Nichols’ favorite axe, which has survived a tornado and will be with him for life.
Also on the roster are Nichols’ signature Epiphone “Blues Power” Les Paul Custom (far left), with a Seymour Duncan Silencer JJN P-90B that gets rid of hum, and a Gibson Made to Measure Les Paul (far right), with a Custom Bucker and another Silencer JJN P-90B, intended to recreate Nichols’ ’54 Les Paul nicknamed “Old Red.”
Nichols uses DR Strings Veritas sets (.010–.049).
Stacks on Stacks
Nichols runs two Marshall 1959 modified heads through Marshall 1960 4x12 cabs, with Celestion GT-75 speakers. One is set for higher treble response, and the other favors bass presence.
Jared James Nichols’ Pedalboard
Nichols’ stomp setup is simple as can be: Along with a Klon Centaur and an Ibanez TS808 Tube Screamer, he carries a Seymour Duncan Pickup Booster Mini, a TC Electronic PolyTune 3, and a Whirlwind Selector A/B Box to switch between amp heads.
The Fender Vintera III series delivers meticulously crafted vintage recreations that capture the authentic look, feel, and tone of iconic Fender guitars from the ‘50s, ‘60s, and ‘70s. The Vintera III Early ‘60s Bass VI features an alder body and a maple neck with rosewood fingerboard for classic Fender tone that’s full of punch and clarity. The early ‘60s “C”-shape, 30” scale maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. At its heart, you’ll find three vintage-style early ‘60s single-coil pickups that deliver all the deep and growling, rich and articulate tone that made Fender famous. Other features include a vintage-style floating tremolo for expressive vibrato, individual on/off switches for each pickup, vintage-style Bass VI mute and vintage-style tuning machines for enhanced tuning stability. Embrace the authentic vintage spirit and legendary sound of Vintera III – where every detail tells the story.
Fender
Vintera III Early '60s Bass VI 6-string
6-string Electric Bass with Alder Body, Maple Neck, Rosewood Fingerboard, 3 Single-coil Pickups, and Tremolo - Candy Apple Red
Tom Butwin puts StewMac's new GuitarTek cleaning line to the test with the worst possible candidate: a neglected guitar from Facebook Marketplace. After finding the perfect subject, he brings it back to the studio to see what GuitarTek can actually do. Less than eight minutes later and after a round of total care cleaner, high-gloss polish, and fretboard conditioner, the results are hard to argue with.