Gear

Review: Bugera TriRec Infinium Guitar Amplifier

Erik Kirkland, Video by Paul Riario — Thu, 23 May 2013 16:30:18 +0000

The following content is related to the July 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

Bugera was the first and may still be the only budget-minded manufacturer whose all-tube, hand-built amplifiers successfully challenge and sometimes eclipse the performance of today’s elite super amps. Hearing and feeling these amps for the first time is enlightening, especially for guitarists like myself, who have—unnecessarily, it now seems—spent thousands of dollars in our search for a tube-driven amp that provides a simple but deep control set.

Bugera’s latest creation and flagship is the indomitable TriRec Infinium, an uncomplicated, all-tube, 100-watt boutique monster that delivers everything from warm cleans and vintage crunch to ultra-modern, skull-crushing gain, all at a street price under $1,000. Two years and more than $2 million were devoted to developing the TriRec’s short and pure signal paths and the Infinium technology, which monitors tube performance, vastly increases tube life and allows players to use any combination of power tubes to achieve their personal tonal nirvana.

Electro-Harmonix Introduces Next Step Pedalboard Cradle

Guitar World Staff — Thu, 23 May 2013 15:47:19 +0000

EHX has created a convenient, secure way to mount any of their innovative Next Step Effects pedals to a pedalboard.

The new Pedalboard Cradle is custom-designed of a lightweight, durable polymer.

Measuring 8.875 x 4.375 x 0.625 inches, it adheres to a pedalboard with hook and loop fastener and the pedal rocks freely and securely within the cradle. When the musician is ready to pack up their pedalboard, a security strap locks down the Next Step Effect for transport.

The Electro-Harmonix line of Next Step Effects consists of the Crying Tone Wah, Expression Pedal, Pan Pedal, Talking Pedal and Volume Pedal. More information on these products can be found at ehx.com.

The Pedalboard Cradle carries a US List Price of $16.96.

Review: Nemphasis Liquid Mind Analog Chorus, The Muff Distortion and VTComp Guitar Optical Compressor

Billy Voight — Thu, 23 May 2013 15:14:41 +0000

Add Nemphasis pedals to the list of handcrafted goods that come out of Italy. Unlike a Maserati, these pedals won’t affect your insurance premium or speeding-ticket collection.

I checked out three pedals in the Nemphasis line; the Liquid Mind Analog Chorus, The Muff Distortion and the VTComp Guitar Optical Compressor.

All pedals share an easy-to-use, three-knob design, TrueBypass switching and a fully analog circuit powered by either a 9-volt battery or standard Boss-style power supply.

The Muff Distortion ... if you think about the name and the pedal’s artwork, it’s a souped-up version of exactly what you think it is! There are three knobs on it: Sustain, Tone and Level. If that’s not enough, there’s Fat Switch under the back panel, which offers a lower voicing. This is definitely my favorite pedal out of the bunch. Everything from nasty Deep Purple bass tones to a smooth violinlike Santana lead tone.

In the clip below; I’m playing a riff on a Les Paul twice; first with the Fat Switch on, then with it off.

Next up, the VTComp Guitar Optical Compressor. The three knobs are Compress, Attack and Level. It can boost or go from a soft dynamic squeeze to a full on stomp. Once your compression is set, the Level knob offers any volume boost or cut you’ll need to equal your bypassed signal level.

For the clip, I played a riff twice, first without the compressor, then with the compressor on a light setting. If you’re struggling to get enough out of your single coil pickups, try a compressor.

Last up is the Liquid Mind Analog Chorus. The three knobs are Depth, Color and Speed. The Color knob acts as a tone knob to either darken up the effect or add a bit of chime on top. A complete Liquid Mind zenlike state can be reached if you set the Depth pretty deep and keep the Speed slow. You might begin to remember the '60s whether you were there or not!

My sound clip is just some steady chordpicking.

Nemphasis Pedals are still very new. Besides the pedals, I checked out they make plenty of other boosts, overdrives, distortions, buffers and power supplies for guitar and bass. As far as availability keep checking their website for new dealers.

Web: nemphasis.com/en/
Price: TBA

You can't believe everything you read on the Internet, but Billy Voight is a gear reviewer, bassist and guitarist from Pennsylvania. He has Hartke bass amps and Walden acoustic guitars to thank for supplying some of the finest gear on his musical journey. Need Billy's help in creating noise for your next project? Drop him a line at thisguyonbass@gmail.com.

Your Signature, Please: Five Essential Pieces of Signature Gear

Damian Fanelli, Josh Hart — Thu, 23 May 2013 14:11:28 +0000

About 10 years ago, a home-furnishings company named a line of rugs after a gorgeous movie and TV actress.

It turns out that, aside from walking, sidling and sashaying on them for a few decades, she really didn't know a lot about rugs — or furniture or pretty much anything her name still graces today. But the company put her moniker on the stuff and continues to reap the benefits that a big name (and a pretty face) can provide.

Luckily, musicians in search of quality signature gear — from guitars to amps to effects to pickups — don't have to worry about that nonsense. Generally, gear manufacturers work closely with their signature artists, in some cases, right down to the tiniest of details (Some artists repeatedly send back their signature-model prototypes until they're absolutely perfect).

So, while acknowledging the plethora of fine signature gear that's available today, here's the cream of the crop: five items that simply get it right. This list was compiled by a group of Guitar World staffers including Gear Editor Paul Riario.

Fender Eric Johnson Stratocaster

Maybe you've read it in forums or heard it from people in the know (maybe even from people whose job it is to try out Fender gear all day long), but Fender's Eric Johnson signature Strat has quietly earned a reputation as possibly one of the best instruments Fender produces on a regular basis.

At first glance, the EJ model looks a lot like other U.S.-made Strats. But once you study the details, you start to notice its refinement. In fact, EJ-model connoisseurs tend to agree that it's not one single feature that makes this guitar special — it's the way all the smaller features work together.

The guitar has a one-piece, vintage-tinted quartersawn plain maple neck (contours sanded very smooth) with a ’57-style V shape; a light, two-piece alder body with deep ’57-style body contours and cavities. It comes in 2-Color Sunburst, Black, Candy Apple Red and White Blonde. The frets are highly polished. The pickups are Eric Johnson single-coils (not over-wound at all) with countersunk screws and a five-way switch. Other features include a vintage tremolo with silver-painted block and ’57-style string recess. There's no paint between the base plate and the block.

Basically, if you're a fan of the Stratocaster in its purest form, you'll truly appreciate this model, which also packs in several practical updates for modern players.

MSRP: $2,599.99 | Check out this guitar at fender.com.

ESP LTD James Hetfield Snakebyte

When it comes to signature guitars made for the rigors of heavy metal, it's hard to beat the LTD James Hetfield Snakebyte from ESP.

The Snakebyte is a light-weight guitar that packs the heavyweight punch necessary for one of metal's marquee players. The neck is thin and comfortable, perfect for quick chord changes, and you'll find all of the high-end features of its more expensive Japanese-made cousin without sacrificing quality.

And, as an added bonus, the Snakebyte now comes stock with a set of EMG James Hetfield pickups, putting all of the Metallica guitarist's secret weapons — minus his fabled right hand — at your fingertips.

For a full test drive and review from Guitar World Gear Editor Paul Riaro, head here.

MSRP: $1,570 | Check out this guitar at esp.com.

Seymour Duncan Alnico II Pro Slash APH-2 pickups

For the die-hard Slash enthusiast, there's a whole boatload of signature gear to choose from, from the "Appetite" Les Paul to a the custom octave fuzz from Jim Dunlop.

While you could buy your way to a pretty good replica of Slash's actual rig with enough money, the best place to start might just be the Alnico II Pro Slash APH-2 pickups from Seymour Duncan.

These moderate-output humbuckers will give you just the right amount of bite for those gritty riffs while still allowing for the searing sustain necessary to unleash ripping solos. Pop them in any humbucker-friendly guitar and you'll be well on your way to channeling your favorite top-hat-wearing guitar hero.

MSRP: $269 | Check out these pickups at seymourduncan.com.

Jim Dunlop DB01 Cry Baby From Hell

Take a quick poll of metal guitarists to find out their favorite wah pedal and Jim Dunlop's Cry Baby From Hell will undoubtedly come out on top.

Made to the specifications of the late, great Dimebag Darrell, the Cry Baby From Hell features an extended sweep range knob, 6-way range selector and kick-in volume boost to take your solos over the top.

Dime, like a number of other guitarists, would often use his wah as a high-end boost for solos, leaving it fully cocked while he tore up the fretboard. Either fully engaged or used as a high-pass filter, the Cry Baby From Hell should meet all your needs and then some.

Now start getting those squeals and pinch harmonics down!

MSRP: $286.44 | Check out this pedal at jimdunlop.com

EVH 5150 III 50-Watt Head

Perhaps no one's tone is as sought-after as that of Eddie Van Halen. And fortunately for all you finger-tapping maniacs out there, almost no other guitarist has more quality signature gear on the market.

And while his Wolfgang Special guitar is top-of-the-line and the MXR Phase 90 will have you rocking the cradle with the best of them, it's his line of signature amps from EVH that have really made a mark on the world of hard rock and metal.

Even if it is a scaled-down version of its 100-watt big brother, there's no denying the EVH III 5150 50-watt head packs a lot into a small package. This three-channel amp matches up nicely with any cabinet, but you definitely can't go wrong with any of the cabs in the EVH 5150 III line. Pair it up with either the 2x12 or 1x12 and you'll have 'em dancing in the streets in no time!

MSRP: $1,333.32 | Check out this amp at evhgear.com.

Additional Content

Review: Ibanez Iron Label RGIR28FEBK Eight-String Guitar

Erik Kirkland, Video by Paul Riario — Wed, 22 May 2013 10:29:39 +0000

The following content is related to the July 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

In recent years, eight-string guitars have enjoyed increased popularity thanks to progressive metallists like Meshuggah’s Fredrik Thordendal and Mårten Hagström, Tosin Abasi of Animals as Leaders and Periphery’s Misha Mansoor. But eight-string guitars are a smart choice for any player who regularly tunes way down, allowing you to get massive low end without the flubby sound and weak responsiveness of detuned strings on a standard six-string.

Ibanez has long been a leader in seven- and eight-string guitars—not surprisingly, all of the above-mentioned artists play Ibanez eight-stringers. The Iron Label RGIR28FEBK is the company’s latest eight-string creation, one that is aimed squarely at the metal market. With its 27-inch scale, thin but strong neck construction, powerhouse electronics and unerring playability, the Iron Label RGIR28FEBK is a solid addition to the company’s unmatched armory of extended-range axes.

Blues Power: An In-Depth Guide to the Amps and Effect Pedals in Stevie Ray Vaughan’s Arsenal

Chris Gill — Tue, 21 May 2013 17:36:33 +0000

Stevie Ray Vaughan’s guitar tone was as dry as a San Antonio summer and as sparkling clean as a Dallas debutante, the product of the natural sound of amps with ample clean headroom.

However, Vaughan occasionally used pedals to augment his sound, mainly to boost the signal, although he occasionally employed a rotating speaker cabinet and wah pedals for added textural flair.

Vaughan’s fierce playing style was the key to his distinctive sound, but it was also very hard on his equipment, and over the years his amps and pedals were heavily modified to withstand the abuse.

AMPS

1980 Marshall model 4140 Club and Country

Most guitarists with multi-amp rigs will use Fender amps for clean tones and Marshalls for distortion and overdrive, but Vaughan did the opposite. However, it made sense that he used a Marshall for clean tones, as his Marshall was a model 4140 Club and Country combo with two 12-inch speakers, which was Marshall’s version of a Fender Twin Reverb. With 100 watts of output and a power amp section driven by KT77 tubes, the Club and Country provides more clean headroom than the typical Marshall design. The amp remained in Vaughan’s rig until early 1984, when a Dumble Steel String Singer replaced it.

1964 Fender Vibroverb

The heart and soul of Vaughan’s live rig for most of the Eighties was a pair of Fender Vibroverb combos. The Vibroverbs, each featuring a single 15-inch speaker, were the source of Vaughan’s cranked-up overdrive tones, and he also used one of the combos to power his Fender Vibratone rotating-speaker cabinet throughout his career. Introduced in 1963, the Vibroverb was Fender’s first amp with built-in reverb.

Fender initially produced the Vibroverb with two 10-inch speakers and brown Tolex covering, but in late 1963 the model’s design switched to a single 15-inch speaker and black Tolex. Vaughan always assumed that his Vibroverbs were one serial number apart from one another based on the numbers “5” and “6” on the tube charts, but those are production run numbers and the actual serial numbers were 36 numbers apart.

Dumble Steel String Singer

Vaughan first discovered the amps of legendary Los Angeles boutique-amp pioneer Alexander “Howard” Dumble when recording Texas Flood at Jackson Browne’s Downtown Studios in 1982, using Browne’s Dumbleland 300-watt bass amp to record most of the tracks during the sessions.

Impressed with the Dumble amp’s ability to maintain crystal-clean tone even when subjected to his aggressive low E string attack, Vaughan custom-ordered a Steel String Singer head, which Dumble beefed up with 6550 tubes and 150 watts of output instead of the model’s usual 6L6 tubes and 100 watts. Vaughan usually used his Dumble head with a custom-built 4x12 cabinet loaded with Electro-Voice speakers.

When delivered in 1984, the Steel String Singer immediately became the main clean amp in Vaughan’s rig, earning the “King Tone Consoul” nickname that Vaughan bestowed upon it. Vaughan acquired a second Dumble Steel String Singer in 1986.

Mid-Sixties Fender Super Reverb

Before Vaughan bought his Marshall Club and Country amp, a mid-Sixties blackface Fender Super Reverb was the source of his clean tone. When Vaughan started playing increasingly larger venues in 1983, he added a pair of Super Reverbs to his rig, which he used along with his Vibroverbs.

Like the Vibroverb, the Super Reverb is powered by two 6L6 tubes and provides 40 watts of output, but because it has four 10-inch speakers (Vaughan loaded Electro-Voice speakers in his Super Reverb amps) instead of a single 15-inch speaker it provided the louder clean headroom Vaughan needed onstage.

Eventually, the Super Reverbs replaced the Vibroverbs as the source of his onstage overdrive tones, although Vaughan kept one Vibroverb in his rig exclusively for driving the Vibratone rotating speaker cabinet. During his 1990 tour, Vaughan replaced the Super Reverbs with a pair of Fender’s newly released ’59 Bassman Reissue amps.

Fender Twin Reverb

For his 1985 Japan tour, Vaughan used a pair of Fender Twin Reverb amps (a mid-Sixties 85-watt blackface model and a late-Seventies 100-watt silverface version with master volume) in place of his Dumble Steel String Singer head. The Twins disappeared from his rig after that tour, only to resurface for a brief period in 1987 when they temporarily replaced his Vibroverb combos.

Early Seventies Marshall model 1967 Major Lead

As Vaughan’s insatiable appetite for power increased, so did the size of his onstage rig, until 1988, when he decided to simplify his multi-amp setup by stripping it down to a pair of high-powered amps: his 150-watt Dumbles and a 200-watt Marshall Major Lead head. Vaughan experimented with a variety of speaker cabinets for the Marshall, including huge 4x15 and 8x10 cabinets designed for bass, before settling on a 4x12 loaded with Electro-Voice speakers like he used with his Dumbles.

If the Marshall Major lasted through the set (this model’s linear design frequently caused intense voltage spikes that arced across adjacent tube sockets and blew tubes), Vaughan would use it to perform a raucous version of “Voodoo Child (Slight Return)” to close his set.

In Step session amps

When recording In Step, his last studio album with Double Trouble, Vaughan had 32 different amps at his disposal, including a 1962 Fender Twin, a mint original 1959 Fender Bassman, and vintage Fender Harvard and Magnatone amps, in addition to the Fender Vibroverbs, Dumble Steel String Singers, and various Fenders and Marshalls he used onstage. When recording each song, Vaughan experimented with different combinations of amps and settings until he dialed in the sound he wanted.

EFFECTS

Ibanez Tube Screamer

According to pedal-geek lore, Vaughan was a big fan of the TS808 version of the Ibanez Tube Screamer, but evidence in the form of stage photos, live videos, insurance documents and customs declarations reveal that the TS9 version of the Tube Screamer was his preferred choice from 1982 through most of the Eighties.

Vaughan usually used his TS9 to provide a clean boost to his Fender Vibroverbs for solos, with the level control all the way up and the drive control set to relatively low gain.

In 1988, a new Ibanez TS10 Tube Screamer replaced the TS9 in his pedal board, which Vaughan generally used to generate high-gain distortion (with both the drive and level controls boosted) that wasn’t otherwise available from his Dumble and Marshall Major rig.

Fender Vibratone

The lush rotating-speaker effects heard on Vaughan tracks like “Cold Shot” and “Couldn’t Stand the Weather” were generated by a Fender Vibratone speaker cabinet. Similar to a Leslie Model 16, the Fender Vibratone is designed for gigging guitarists and features a rugged, roadworthy cabinet covered in black Tolex.

More importantly, the Vibratone is also designed for use with a standard guitar amp and features a guitar speaker that emphasizes crucial midrange tones instead of the full-range, two-way woofer and tweeter speaker array found in most Leslie cabinets. Fender sold the Vibratone from 1967 through 1972, and it is still considered one of the best true rotating speaker effects for guitarists.

Roland SDD-320 Dimension D

Although Vaughan didn’t use the Roland Dimension D in his live rig, it was a secret weapon in the studio, where he often added it to his guitar tracks during mixing. Vaughan first discovered the Dimension D while mixing his guitar tracks on David Bowie’s Let’s Dance, and he liked how its subtle chorus effect thickened his guitar sound without changing his natural tone significantly like other chorus effects frequently do.

The Dimension D was used on the solos to “Mary Had a Little Lamb” and “Pride and Joy” on Texas Flood and most of the solos on Couldn’t Stand the Weather. During mixing, Vaughan would add the Dimension D effects himself via the effects send/return controls on the mixing console.

Vox V846 wah

Vaughan’s wah pedal of choice was a Vox V846 from the Sixties that originally belonged to Jimi Hendrix. Jimmie Vaughan, Stevie’s brother, acquired the pedal from Hendrix when Jimmie’s band shared a bill with the Experience in Fort Worth. Vaughan owned several other Vox wah pedals and was allegedly very fond of an early Seventies version with a Japanese TDK inductor.

Vaughan used the Vox wah on his Hendrix covers and “Telephone Song” on the Vaughan Brothers’ Family Style, and he famously used two wahs at once to record “Say What.”

Dallas-Arbiter Fuzz Face

Vaughan tended to prefer clean tones and natural tube-amp overdrive, but in 1988 he added an original Sixties Dallas-Arbiter Fuzz Face pedal to his rig when he became obsessed with emulating Jimi Hendrix’s signature sounds.

Unfortunately, the Fuzz Face’s germanium transistors were extremely unreliable when exposed to hot stage lights or the sun during outdoor gigs. Vaughan collected several Fuzz Face pedals, and he would try several during sound check to choose the one he thought sounded best that particular day. Eventually, he got tired of the unreliable transistors in his Fuzz Face pedals, so he had them modified by his amp tech César Diaz, who later used the modifications as the basis for the Diaz Texas Square Face pedal.

Tycobrahe Octavia

Another key effect that Vaughan used to emulate Hendrix tones was an Octavia fuzz pedal that produces octave-up effects. Vaughan initially used Roger Mayer Octavia pedals (housed in distinctive “spaceship” metal boxes), but when Diaz located three New Old Stock Tycobrahe Octavia pedals, Vaughan switched to those.

His guitar tech, Rene Martinez, says that Stevie thought the Tycobrahe pedal produced the best Octavia effect he had ever heard. Vaughan especially liked how the Octavia sounded when used along with a Tube Screamer.

Be sure to pick up the new March 2013 issue of Guitar World magazine, which features SRV on the cover and celebrates the 30th anniversary of Texas Flood. The issue also profiles the amps and effects in Vaughan's arsenal, dissects 10 Vaughan albums and discusses Vaughan's "Number One" Fender Strat. The new issue is available now at the Guitar World Online Store.

Additional Content

La Grunge: The Top 10 Blues-Approved Overdrive/Distortion Pedals

Chris Gill — Mon, 20 May 2013 11:33:04 +0000

The origin of guitar distortion goes back to the earliest electrified blues guitarists.

They didn’t care that their primitive tube amps were breaking up and distorting, as long as they were loud. Soon, blues guitarists grew quite fond of those nasty, gnarly distorted tones, and they sought to replicate them by any means necessary.

Enter the overdrive pedal. Designed to push an amp to the brink, the overdrive pedal allows players to summon singing sustain, compelling crunch, and glorious grit at any volume level, giving guitarists the bite and balls they need for genuine blues-approved tone. While a handful of purists prefer to plug a guitar straight into an amp, most blues guitarists these days have a handful of overdrive, distortion and even fuzz boxes in their rigs.

Thanks to the proliferation of boutique pedal builders over the past 20 years, there are easily more than a thousand distortion devices available to help guitarists find their signature blues sound. The following pedals are the top 10 classics and modern marvels that get our mojo working when we spank that plank and crank up the volume.

10. Way Huge Pork Loin

By blending modern soft-clipping BiFET overdrive and classic clean “British” preamp tone pathways, the Pork Loin allows players to dial in raw, raunchy tones that never lose bottom-end clarity or definition. The Pork Loin plays a massive role in Joe Bonamassa’s bigger-than-life modern blues sound.

9. Klon Centaur

The Klon Centaur’s legendary clean boost transforms a guitar’s natural tone the same way a livestock farmer turns a piglet into a prize-winning porker—by making it bigger, fatter, juicier, meatier and more muscular. Centaur designer Bill Finnegan discontinued production several years ago, driving prices for used Klons well above $1,000, but he’s trying to bring a similar pedal to the market again with the same hand-selected parts, attention to detail and signature sound that the numerous “klones” have failed to match.

8. PaulC Audio Tim

Thanks to its impressive tonal range and expressive touch sensitivity, the Tim is a favorite of tube amp aficionados who don’t want to sacrifice the dynamic response of their favorite amps but need more gain and tonal-shaping capabilities. With the EQ controls set at 12 o’clock, it provides some of the most transparent clean boost and overdrive tones available.

7. Fulltone Full-Drive 2

Fulltone makes an impressive variety of incredible overdrive, distortion and fuzz pedals, including the OCD, PlimSoul and Fat-Boost FB-3, but when it comes to the blues, most guitarists choose the Fulltone Full-Drive 2. With separate overdrive and boost footswitches and mini toggle switches for selecting clean boost, midrange emphasis, MOSFET clipping and more, the Full-Drive 2 is a versatile overdrive pedal that makes it easy to dial in your own signature blues tones.

6. Ibanez TS-808 Tube Screamer

Thanks to Stevie Ray Vaughan’s use of an Ibanez Tube Screamer (he replaced the TS-808 with a TS-9 and TS-10 later in his career), this pedal has gone on to become the best-selling and most copied overdrive pedal of all time. The Tube Screamer’s output boost and signature midrange hump, along with a characteristic warmth that the TS-808’s successors lack, make it ideal for playing fat, aggressive solos that destroy everything else in its path.

5. Electro-Harmonix Big Muff π

Most staunch traditionalists think that the raunchy fuzz tones of a Big Muff π are a little too furry and furious for the blues, but that hasn’t stopped a new generation of blues-inspired players from using one. The Big Muff is a key element of 21st century blues as envisioned by Dan Auerbach of the Black Keys and Jack White of the White Stripes, the Raconteurs and the Dead Weather.

4. Dallas-Arbiter Rangemaster Treble Booster

Eric Clapton’s alleged use of a Dallas-Arbiter Rangemaster Treble Booster on John Mayall’s legendary Blues Breakers with Eric Clapton album remains the source of much controversy, but the Rangemaster was also a key element of Rory Gallagher’s late-Sixties rig that similarly redefined blues guitar tone during the British blues revival, thanks to its marvelous midrange and gritty germanium transistor grind. Numerous clones are available today, including the Analog Man Beano Boost and Keeley Java Boost.

3. Boss BD-2 Blues Driver

Not since the late Seventies, when the Ibanez Tube Screamer and Boss OD-1 made their debut, has a mass-produced overdrive pedal won over the great unwashed and cork-sniffing tone snobs alike. The BD-2 delivers a wide variety of overdrive tones, from creamy to crunchy, with personality that ranges from retro smooth to modern blues-rock raunch.

2. Blackstone Appliances MOSFET Overdrive

This pedal’s nameplate and crinkle finish may have the retro-cool vibe of a Thirties toaster, but underneath the hood lies a modern circuit that uses small-signal MOSFETs and an unconventional input stage to cook up distortion and overdrive with rich harmonic overtones that will melt your face off like a million-watt microwave. “It’s heavy stuff, not the sound of a popcorn machine,” says Billy Gibbons, who used the Blackstone in tasteful excess on several new ZZ Top tunes.

1. Analog Man King of Tone

With a two-year waiting list, the Analog Man King of Tone is one of the most sought-after overdrive pedals, and for a very good reason: it provides a clean boost that preserves a guitar’s tone, making it sound bigger, badder and more bodacious, with just the right amount of natural-sounding distortion. Kenny Wayne Shepherd, Gary Clark Jr. and Buddy Miller are just a handful of the pros who have discovered that the King of Tone truly rules.

Jim Dunlop Introduces MXR Prime Distortion Pedal

Guitar World Staff — Fri, 17 May 2013 14:34:53 +0000

Dunlop Manufacturing, in partnership with Guitar Center, has announced the new MXR Prime Distortion pedal.

It is available exclusively at Guitar Center stores, Guitar Center online and Musicians Friend online. This new pedal will be available for purchase May 22.

The MXR Prime Distortion conjures vintage hard clipping that’s raw, powerful and highly responsive to the guitar player's attack. With its classic Output, Tone and Distortion control setup, this pedal’s huge, articulate sound is easy to dial in. The Prime Distortion packs a huge punch when you dig in, but it also cleans up when you pull back.

This 100-percent analog distortion uses low-noise op amps, so you don’t get any extra noise when the gain levels soar.

Features:

• Responsive to attack
• Output, Tone and Distortion controls
• Low noise op amps
• 100 percent analog
• Street price: $49.99.

For more about Dunlop's MXR pedals, head to jimdunlop.com/products/electronics/mxr.

Here are two new videos that demo the MXR Prime Distortion pedal:

TAL
Jackson Guitar w/ EMG active humbuckers + M69 Prime Distortion + LAVA Vintage Coil cables + Marshall Super Lead (100w) and 4-12 slant cabinet. Recorded with Heil PR30 and Royer 101 microphones. Performance: Tal Morris. Executive Producer: Jimmy Dunlop.

JAMES
Fender Telecaster + M69 Prime Distortion + LAVA Vintage Tweed cables + Carr "Impala" amplifier (6L6, 40w); Recorded with Heil PR30 and Royer 101 microphones. Performance: James Deprato. Executive Producer: Jimmy Dunlop.

Small Wonders: Five Essential 15-Watt Guitar Amps

Damian Fanelli — Fri, 17 May 2013 14:18:11 +0000

Let's face it, bringing a 100-watt guitar amp to your average weekend bar gig is a lot like taking a Lamborghini to Shop Rite for Sunday-afternoon grocery shopping.

You simply don't need all that power (Unless Shop Rite also happens to be hosting a Sunday-afternoon drag race).

Which is why several amp manufacturers have spent a lot of time, effort and money developing less-powerful and more-portable (not to mention affordable) amps, namely those of the 15-watt variety. Unlike larger amps, including 50-watters, you can really open up a 15-watt amp at a gig and take advantage of all its features, including that beautiful, natural gain that magically appears at high volumes.

Here's a list of our five essential 15-watt guitar amps. As always, this list was compiled by a group of Guitar World editorial staffers including Technical Editor Paul Riario, the guy who tries out every piece of gear that arrives at Guitar World. He also appears in one of the five demo videos in this story.

As always, the amps are presented in no particular order.

Marshall Haze MHZ15

There's nothing hazy about this choice, Marshall's Haze15.

The amp runs on three ECC83 preamp and two 6V6 power amp tubes, providing this two-channel head with a pure-tube pedigree. The amp's traditional EQ section of Bass, Middle and Treble allows massive amounts of control; the Normal and Overdrive channels create beautiful clean and distorted tones — and everything in between.

Turning up the Normal channel volume takes the clear tone and adds tube drive, compression and bite, which can be adjusted through your guitar’s volume control. Engaging the Bright function adds sonic sparkle and an extra cutting edge. Switching to the Overdrive channel sees the amp really start to roar with Volume and Gain controls allowing direct access to your sound.

At low volumes, the Haze15 offers smooth, rich overdriven tones. When it's cranked up, you can look forward to classic, fat, Marshall distortion.

What does it sound like?

Here's our own Paul Riario trying out the Haze15 in a GW video from 2010:

MSRP: $840 | Visit marshallamps.com for more about Marshall's Haze series.

From its humble origins in the back of a small music store in London, Marshall Amplification has defined the sound of rock for generations of guitarists around the world. The History of Marshall Amps: The First Fifty Years by Michael Doyle and Nick Bowcott tells the story of Jim Marshall's remarkable life and documents the many innovations of Marshall amplifiers, from the famous “stack” to the most current offerings. It's available at the Guitar World Online Store.

Orange Amplifiers Tiny Terror Series TT15

Lunch, anyone?

Orange Amplification's Tiny Terror Head — known by fans as the original lunchbox amp — is a best seller for a reason. When driven, this tiny amp has almost as much gain as most four-stage lead channels.

The Tiny Terror puts a host of boutique amps to shame with its clean crunch and full-on overdrive sounds. At mid-gain settings, this tube-driven head has plenty of vintage British character. The Tiny Terror was designed to the same specs as larger Orange amps, and its portability makes it perfect for gigging around town or rehearsing. As an added bonus, the Tiny Terror can go from 15 to 7 watts for studio use, recording and practice.

What does it sound like?

Here's an official demo video from Orange:

MSRP: $769 | Visit orangeamps.com for more info about this amp.

Fender 65 Princeton Reverb 15W

I own one of these babies, so I can vouch for it from years of personal experience. This is simply a great amp for the majority of gigs I play — bars and clubs. There are four guitarists in our band, and this amp never gets lost in the mix.

The 65 Princeton Reverb is versatile enough to go from the living room to the recording studio to the small gig. It's got plenty of vintage vibe, plus dynamic clean and overdriven tones, spring reverb and tube vibrato.

The amp delivers 15 watts through a 10-inch Jensen Special Design speaker. It has two inputs (one channel), plus a footswitch, and control knobs for Treble, Bass, Reverb, Speed and Intensity. The tube complement consists of a trio of 12AX7s, a 12AT7, dual Groove Tubes 6V6s and a single 5AR4 rectifier tube.

What does it sound like?

This video wasn't created by Fender or Guitar World, but it does a fine job of demonstrating the sounds and features. You'll notice the model being tested is the recently introduced Surf Green version of the amp:

MSRP: $1,299.99 | Visit fender.com for more info about this amp.

Vox Night Train NT15H/V112NT

Simply put, this is one cool-looking, mirror-finish 15-watt amp.

The industrial-looking amp, part of Vox's Night Train series, is a solid, all-tube, portable head. It runs on two 12AX7 preamp tubes and two EL84 power tubes; this is the same tube complement as the company's classic AC15 amp.

The Vox Night Train's single switch lets you select between Pentode or Triode tube operation. In Pentode mode, the amp delivers 15 watts of power. In the Triode mode, the power is cut to 7.5 watts. The Triode mode also relaxes the tube power stage, letting the mellow tube character shine through.

Night Train greets you with a clear, simple panel design, offering the familiar Gain and Volume controls. The Tone controls include Treble, Middle and Bass, allowing you to dial up just the right character for your individual, signature tone. In addition, the preamp section features a mode switch, offering both Bright and Thick options. The Bright mode accentuates the high-frequency components for a clear, ringing tone; the Thick setting bypasses the tone circuit to boost the gain and create a chunkier, heavier sound.

What does it sound like?

Here's an official video Night Train demo video from Vox:

MSRP: $700 | Visit voxamps.com for more info about this amp.

Mesa Boogie Transatlantic TA-15

The guys at Mesa Boogie noticed everyone else was bringing lunchboxes to the amp party, so they decided to make their own. They did a fine job; the TA-15 is a tasty, portable amp that packs in a lot of features.

The TA-15 packs all the performance found in high-end, full-size models and offers classic British and American sounds in a 12-pound package. Two channels feature five modes; choose a preamp style in each channel, then select the perfect power for it from three output choices: 5 Watts (Single-Ended Class A), 15 Watts (Class A) or 25 Watts (Dyna-Watt).

From Mesa Boogie: "The Channel Modes start off with lower gain NORMAL and higher gain classic versions of the iconic TOP BOOST sound in Channel 1, which includes an ingenious Pull MASTER on the CUT control that can be Hard Bypassed for purists. Channel 2 houses three Modes; a gorgeous TWEED clean, a British high gain in HI 1 and a classic Boogie Lead in HI 2."

What does it sound like?

Check out these seven audio TA-15 samples available on mesaboogie.com. Here's Mesa Boogie's official demo TA-15 video:

MSRP: $899 | Visit mesaboogie.com for more info about this amp.

Seymour Duncan Introduces High-Output Pickup, the Nazgûl

Guitar World Staff — Thu, 16 May 2013 15:47:54 +0000

Seymour Duncan has announced a new pickup, the Nazgûl.

"It's not just a pickup, it's a weapon of tonal Armageddon," says the company in a news release issued today. "The Nazgûl was designed with a single purpose; for intense, high-output chug heavy punch you in the chest ruthless distortion.

"The tone is heavy and aggressive but also retains articulation and provides a precise pick attack that is necessary for high-output metal. The Nazgûl gives chords heavy saturation and produces a lightning fast response to your amp. Perfect for all high-output metal needs in which sonic obliteration needs to be accomplished."

The Nazgûl is available for seven- and eight-string players and also comes in an active mount (soapbar) sizing for guitarists who own a guitar that originally came with active pickups but prefer the tone of passive pickups.

For more information check out the video below and visit seymourduncan.com.

Jericho Guitars Announces Avenger Baritone Model

Guitar World Staff — Wed, 15 May 2013 18:51:10 +0000

Jericho Guitars has announced The Avenger, its new line of baritone guitars.

The guitar features a 27-inch scale perfected for studio and stage, optimized for standard and drop tunings as low as Drop G. The guitar comes stock with Seymour Duncan Full Shred on neck and bridge, 18:1 Grover Tuners, GOTOH bridge, ebony fret board and a three-piece maple neck.

"This is not your daddy's guitar," says Jericho Guitars' Dave Muselman. "This instrument was built with today’s player in mind. From blues to sludge, studio to stage, this guitar has it all. Whether you are layering guitars in the studio or throwing it around live, this perfectly balanced 6.5-pound guitar allows you to play from the heart and not from the hip."

The Avenger White is available in white top with matching white headstock and black backing. The Avenger Black is blacked out with chrome hardware. Both guitars are finished in UV protected anti-yellowing Poly-Urethane topcoats buffed to a classy high-gloss finish.

Each sale is honored with a professional setup to your desired tuning, string gauge and customization.

For more information, visit jerichoguitars.com.

Review: TC Electronic John Petrucci Dreamscape Signature Toneprint Pedal

Paul Riario — Tue, 14 May 2013 16:13:46 +0000

The following content is related to the September 2012 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

In 2011, TC Electronic introduced several stomp boxes that employed its TonePrint technology, which allows users to download new effects programmed by various artists, including well-known players like Paul Gilbert, Steve Morse, Joe Perry and Steve Stevens, from a computer or iPhone/Android smartphone.

Many of these artist downloads proved to be quite popular, so it seemed like only a matter of time before TC combined several of them in one pedal. That’s exactly what the company has done with the John Petrucci Dreamscape Signature TonePrint pedal. The Dreamscape presents six of the Dream Theater guitarist’s custom-tweaked tones in one box. The signature sounds comprise two choruses, two vibratos and two flangers, including Petrucci’s brand-new Vortex Flanger TonePrint. Plus, the pedal has room to store an additional TonePrint download, for a total of seven effects in one compact pedal.

FEATURES

While the Dreamscape’s controls are similar to those of a standard stomp box, it’s capable of creating a much wider variety of sounds than the average pedal thanks to the flexibility of its digital circuitry. There are controls for effect level, speed and depth; a seven-position switch for selecting presets; and a three-position mini toggle for bright, normal and dark tone settings. Other pro-quality features include stereo input and output jacks, an easy-access single-screw battery compartment, a jack for an optional nine-volt adaptor and a mini USB jack for downloading new TonePrint effects. TC currently offers 33 TonePrint effects for the Dreamscape, with more to come in the near future.

PERFORMANCE

The Dreamscape is not a multieffect pedal but rather a versatile single-effect pedal that provides a variety of short delay-based modulation effects. However, it can easily replace the need to have separate chorus, flanger and vibrato pedals on your pedal board as you can access entirely new effects in seconds by rotating the effect selector switch. Plus, you can load new TonePrint effects from a computer or by beaming them from a smartphone pointed at your guitar’s pickups, all in less than 10 seconds.

The effects boast the superb, noise-free sound quality for which TC is known. Both chorus effects are thick and lush, with a three-dimensional shimmer. Flanger 1 is subtle but effective for adding motion and dynamics to clean chord and arpeggio patterns, while Flanger 2 provides a dramatic, jet-like sweep. The vibrato effects produce a woozy, seasick wobble, but the pitch pulsations are subtle, so players don’t have to worry about sounding out of tune.

Rare Beatles Vox Guitar Goes on Exhibit in New York City

Christopher Scapelliti — Tue, 14 May 2013 15:35:48 +0000

A rare Vox guitar played by John Lennon and George Harrison will be on display throughout this week at the Hard Rock Cafe New York. The guitar will be auctioned off on Saturday, May 18, where it is estimated to bring $200,000 to $300,000.

The striking custom guitar has a special place in Beatles history. It was built by Mike Bennett with electronics by Dickey Denney of Vox in 1966 and presented to the group the following year while they were at work on Magical Mystery Tour. Harrison played the guitar while practicing “I Am the Walrus” during the Magical Mystery Tour sessions, and Lennon used it while recording a video session for the song “Hello, Goodbye” from the same period.

Lennon later gifted the guitar to Beatles pal “Magic Alex” Mardas, whom the Beatles had hired to design their Apple Studio in Savile Row. A plaque on the back of the guitar reads “To Magic Alex / Alexi thank you for been [sic] a friend / 2-5-1967 John.” Mardas says the date is a reference to his 25th birthday, which preceded the date on which he received the guitar.

The guitar is notable for its unique scroll design. It features a mahogany hollow body with a single f-hole, a 24-fret rosewood fretboard with rectangular inlays, and electronics that include six pushbuttons for treble, bass, top boost, mid-boost, fuzz and repeat. The headstock is labeled "Vox Custom.” Though the guitar was not originally designed as part of the Vox Kensington line, it has since become known as such.

The exhibit and auction will be presented by Julien’s Auctions, the world’s premier music and entertainment memorabilia auction house, at Hard Rock Cafe New York on Saturday, May 18.

The guitar is the highlight of the pre-auction exhibit, which also will feature rock and roll memorabilia from artists that include Elvis Presley, David Bowie, the Grateful Dead, Madonna, Jimi Hendrix, David Cassidy, Bette Midler, Beyoncé, Michael Jackson and more.

The general public can view the exhibition from Monday, May 13, through Saturday, May 18, beginning at 11 a.m. at the Hard Rock Cafe New York, 1501 Broadway, New York, NY 10036.

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Review: Re-Axe's Axe-Handler Guitar Stands

Billy Voight — Mon, 13 May 2013 10:04:58 +0000

The Axe-Handler by Re-Axe. Yes that’s a healthy display of the hyphen. And no, we're not talking about the kind of axe George Washington used to cut down a cherry tree.

What we are talking about is an American-made, mega-portable guitar stand that you can stash inside your case or gigbag to save your instrument from being the victim of a party foul at your next gig or living-room jam session.

There are two flavors of the Axe-Handler — the Original and the S/O.

What’s the difference? They both sit on the edge of your coffee table, desk, stool, amp or speaker cabinet and anchor your guitar or bass against gravity. But there are a few subtle differences. The Original Axe-Handler offers a pick holder. You’ll note the flat cutout that works best if you place your guitar strings-first into the holder.

The Axe-Handler S/O is a multi-tasker. The S/O stands for “strings out,” which means you place the back of the neck inside the soft V-shaped cutout. What I liked best about the S/O was that I could stand it upright on any table or even inside my guitar case and change strings or do minor tweaks.

Both Axe-Handler models are made from a durable rubber and are internally braced with steel. This ain’t no cookie-cutter nonsense! They stand about an inch tall and take up about as much space as a pack of guitar strings. The weight is comparable to full can of soda.

You can buy either of Re-Axe’s Axe-Handlers online, but the guys encourage you to check out a local music shop. In fact, the name of the Axe-Handler came from a music shop. Instead of dealing exclusively with the big commercial chains, they prefer to stick with local shops all over the US. Check their website below to find a list of dealers.

Web: http://re-axe.com
Street price: The Original, $17.95. The S/O, $16.95

40 Years After "Smoke On the Water," Fender Custom Shop Introduces Ritchie Blackmore Tribute Strat

Guitar World Staff — Thu, 09 May 2013 18:34:20 +0000

The Fender Custom Shop is paying tribute to the "anvil" used to forge one of the greatest guitar riffs in rock history, the one from Deep Purple's "Smoke On the Water," with its limited-edition Fender Custom Shop Ritchie Blackmore Tribute Stratocaster.

Limited to 2013 production only, the guitar is a meticulously crafted replica of the black Fender Stratocaster Blackmore played with Deep Purple in the early ’70s, including the recording of Machine Head and "Smoke on the Water."

“Smoke On the Water” was released on Machine Head in 1972 and as a single in May 1973 — 40 years ago. The song reached No. 4 on the Billboard pop singles chart in the US and propelled Machine Head into the top 10 worldwide.

The Fender Custom Shop Ritchie Blackmore Tribute Stratocaster has a two-piece alder body with a lightly worn Black urethane finish, a ’69 “U”-shaped maple neck, 7.25”-radius maple fingerboard with medium jumbo frets, and custom ’69 Stratocaster pickups hand-wound by Fender legend Abigail Ybarra.

Other features include three-way pickup switching, Schaller tuners, Micarta nut, four-bolt neck plate stamped with the serial number and the stylized Fender “F,” and a vintage-style synchronized tremolo equipped with Blackmore’s distinctive custom ¼” arm. Each instrument also includes an exclusive rear-headstock tribute decal, certificate of authenticity and orange-line black textured vinyl case with a “Fender Amp” logo.

Visit fender.com for more information on this guitar.

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