Chicago, IL (February 11, 2013) -- Washburn Guitars is proud to introduce the Time Traveler series with the model PS2012R, a classically inspired guitar for the ages. Designed in conjunction with Paul Stanley of Kiss, the Time Traveler guitars are hand crafted and aged to look, feel and play as if they're 40 years old.
Built in the Washburn USA Custom Shop, these limited edition Time Traveler models utilize premium woods and components for incredible tone and unmatched playability. Each guitar feels and plays as if it were a worn and well broken in old friend. No two are alike, making each one a collectible in its own right and a Certificate of Authenticity is included with each. The Aged Nitro Cellulose finish is available in 4 colors, Pelham Blue, Polaris White, Golden Mist and Cardinal Red.
The PS2012R features a mahogany body with a carved raised center and a 3 ply aged white/black/white pickguard with aged Starfire logo. A mahogany set neck sports a bound ebony fingerboard with 22 jumbo frets and custom pearl/abalone split block inlays. The reverse headstock is accentuated by a similarly shaped truss rod cover with aged Starfire logo. A bone nut adds sustain and helps prevent string binding. Premium aged nickel Grover 18:1 tuners provide smooth, stable tuning and the Buzz Feiten Tuning System ensures perfect musical intonation. An aged nickel Tone Pros tune-o-matic bridge is combined with a custom aged tailpiece machined from solid aluminum for ultimate tone transfer and sustain.
Seymour Duncan SM-3 mini humbuckers were chosen for their ability to produce a sparkling clean vintage tone yet have the output to drive the front end of classic amps into full overdrive and sonic nirvana. A 3-way selector switch and separate tone and volume controls provide a wide palette of selectable tones.
The PS2012R will retail for $8,665.33 and includes a beautiful aged custom hardshell case.
For more information:
Washburn
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Peterson StroboStomp Mini Pedal Tuner
| The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
