Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
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Crash and Learn—Why Joey Landreth Always Goes For It!
This time host John Bohlinger sits down. plugs in, and slides besides the musical Canadian chamaeleon who talks about embracing your influences, playing bold (and loud) onstage for maximize risk taking, and shaping the might Revv D20 and D25 amps. Plus, he notes the guitar star that gave him memorable compliment after Joey bombed a solo.
This ’60s Italian Electric Guitar Is Straight Out of a Dream
Last night something happened to me—I had a dream within a dream! Inception style! Here’s how it went down: I was dreaming that I had to unload a bunch of guitars from my car, and I was worried because I thought it was too hot outside and the guitars would get damaged. But when I went outside, there was snow everywhere! I wandered through the piles of snow and found my car buried. I remember looking down and I was walking on clear ice, and I could see little fish swimming around under there. I finally got into my car and I was freezing, but I still checked out the guitars to see if everything is cool. Suddenly, the ice started to melt extremely fast, and before long, I was floating in water! Right then, I started thinking about this one particular guitar because I thought it would make a good paddle.
Then, in the dream, I “awoke” and realized I was back in my bedroom, and it was all just a dream. The kicker is that I was still dreaming, because that “paddle” guitar was suddenly in my hands—then I woke up for real! How about that misadventure?
The next day (in real life), I went down to the basement to find this weird old bugger that, in my dream, would’ve made a good paddle. Apparently, this pancake-batter-shaped Steelphon is one of only a few known to exist, and I had forgotten that I still had it! Hailing from the mid ’60s, this Italian-made electric is a true oddity. Steelphon, which is an odd name in and of itself, was a company based in Turin, Italy, that was already making guitar-related items, primarily amps, but of course jumped into electric guitars during the boom years. The company seemed to contract out guitar production, because this one has all the characteristics of a Crucianelli-made guitar: the robust truss rod, the mini humbuckers, and the amazing bridge (which is like a steel brick) that would put any Gibson bridge to shame.
The amazing mini humbuckers are hot as hell and sound phenomenal—probably my all-time favorite pickups. The electronics feature a preset tone selector, pickup selector knob, and volume and tone knobbies. Playability is obviously weird because the body is so darn wide, and a little heavy. Plus, the neck is slightly thin so the whole experience is a little wonky. But again, the guitar sounds so good that it could be worth it for those looking for the “odd” factor.
“This pancake-batter-shaped Steelphon is one of only a few known to exist, and I had forgotten that I still had it!”
Back in the day, I coveted this guitar for a long time. There was a fellow in the Netherlands who collected and sold the strangest guitars, and this was on his site forever. Eventually, I ended up buying this and a few others from him, but when I got this guitar, it was a basket case. Playability was awful, the electronics were a mess, and the fret dots seemed to have been repaired by a kindergartener. The Steelphon also suffered from the dreaded Italian finish-shrinkage, which caused the guitar to have a lot of finish checking and splitting, kind of like a candy-coated finish that got cracked.
All in all, we were able to sort everything out, and now the guitar plays rather well. A hallmark of many guitars from the ’60s is that the electronics were overly complicated. Designers back in the day were trying to get a lot of preset tonal options, but the overall sound was always getting muddied. Once you dive in under the pickguard, it’s always best to wire point-to-point to get the best sounding guitar—especially with these pickups, which are just so aggressive. They sound dreamy!
Taylor Guitars Expands Popular SOMOS Collection with Six New Models
Taylor Guitars, the leading global builder of premium acoustic guitars, today announced a major expansion of its SOMOS Collection®, adding six new double-course models designed for Latin music styles and broader sonic exploration. The release includes three new Bajo Quinto (10-string) and three Doce Doble (12-string) guitars across the 100 Series, 200 Plus Series, and 200 Deluxe Series, making the collection more accessible to a wider range of players. All six models are available now at authorized Taylor dealers worldwide and on TaylorGuitars.com.
“With the SOMOS Collection, we’re celebrating our musical and cultural connections that define our home in Southern California and Baja California,” said Andy Powers, Chief Guitar Designer and CEO at Taylor Guitars. “These new Bajo Quinto and Doce Doble models support the growing demand for instrument innovation and quality in Latin American music, bringing new textures and tonal possibilities to guitarists worldwide.”
Latin-Inspired Sound and Style
The SOMOS Collection® was first introduced as a family of Latin-inspired acoustic instruments that reflect Taylor’s Southern California roots and the diversity of its musical community. “Somos,” meaning “we are” in Spanish, evokes unity, identity, and shared expression.
Each new model features a cutaway Dreadnought body, onboard electronics, a slim, easy-playing Taylor neck, and C-Class bracing, a variant of the company’s patented V-Class® bracing, engineered to enhance volume, sustain, and intonation. D’Addario custom string sets for their respective tunings, and an offset bridge-pin and string-ramp setup that boosts the resonance and responsiveness without the string interference typical of traditional 10- or 12-string designs.
Model Highlights
100 Series – 150ce Bajo Quinto / 150ce Doce Doble
The most price-friendly entries in the SOMOS Collection, the 100 Series models channel a clean, traditional aesthetic with a natural matte finish, black binding, dot inlays, and chrome tuners. Torrefied spruce tops paired with layered sapele backs and sides deliver warm, classic tone with powerful punch and articulation. Includes gig bag and either EMG ACS soundhole humbucker pickup (Bajo Quinto) or Taylor’s ES2 electronics (Doce Doble). Starting at $899 USD.
200 Plus Series – 250ce Plus BLK Bajo Quinto / 250ce Plus BLK Doce Doble
Boasting bold blacktop finishes, white binding, and Italian acrylic accents, these models make a stark visual statement perfect for any performer. Layered maple back and sides add brightness and projection, complemented by a solid torrefied spruce top for balance and volume. Outfitted with AeroCase protection and a choice of EMG ACS pickup (Bajo Quinto) or ES2 electronics (Doce Doble). Starting at $1,599 USD.
200 Deluxe Series – 260ce-K DLX Bajo Quinto / 260ce-K DLX Doce Doble
Crafted with figured, layered Hawaiian koa back and sides and a solid koa top, these guitars combine a bold, shimmering tone with showstopping visuals. A gloss shaded edgeburst finish, gold tuners, and Sentinel fretboard inlays make these guitars destined for the stage. Each includes a Taylor Deluxe Hardshell Case, and EMG ACS or ES2 electronics. Starting at $2,099 USD.
A Modern Take on Tradition
The requinto-style Doce Doble reimagines the unison-strung 12-string format long favored in regional Mexican and Latin music, producing lush, chorus-like textures suited for any genre. The Bajo Quinto, a mainstay in Norteño and Tejano ensembles, offers five double courses tuned in fourths (A-D-G-C-F), creating a bold, rhythmic foundation that complements both bass and accordion accompaniment.
The new SOMOS Collection instruments are already being played by leading artists and producers shaping the sound of contemporary regional music, including Angel Aispuro and Edgar Rodriguez; Juan Bojorquez (“El Pony”) of Fuerza Regida; Carlos Torres with Peso Pluma; Jorge Tapia with Natanael Cano; Joaquin Ruiz of Grupo Firme; Alan Nieblas from Alta Consigna; and Gil Leyva with Junior H.
“For me, the Taylor bajo quinto and doce doble have really helped me find new ways to express myself,” said Joaquin Ruiz, guitarist for Grupo Firme. “They’ve inspired me with their fresh sound and unique approach. Just like music evolves, there’s a real need for instruments to keep up with that change.”
Crafted Across Borders
The new SOMOS Collection models are built in the company’s state-of-the-art Tecate, Baja California, Mexico manufacturing facility, just across the border from its El Cajon, California headquarters. The Tecate plant, which has produced Taylor’s 100 and 200 Series guitars for decades, plays a central role in the company’s focus on craftsmanship, sustainability, and broader access to the highest-quality instruments.
“The SOMOS Collection is literally and spiritually built on both sides of the border,” Powers added. “It’s a reflection of who we are – ‘somos’ – as makers, musicians, and neighbors.”
The six new SOMOS Collection models are avao;ab;e starting at $999 USD street price (150ce) and ranging up to $1,699 USD (260ce-K DLX).
For more information about the Somos Collection, visit TaylorGuitars.com/Somos.
Keeley Oaxa Dual Stereo Phaser Demo | First Look
Double dip in the modulation whip with Keeley's new twin phaser.
Most effects modify the amplitude of the signal like a distortion or compressor pedal. Others modify the timing of signals like delay and reverb. Guitar phasing is achieved by blending your original signal with a frequency domain altered version of the signal. The frequency modified component can be thought of like an EQ pedal that is rhythmically adjusted. As a result, when the two signals are combined you get the instantly recognizable sound of a... phaser.
There's no better way to make your guitar sound spacey, psychedelic, or "liquid". Phasers and vibes have that instantly recognizable dreamy and other-worldly tone. The Oaxa Phaser gives you double the fun with two independent phasers. Two phasers with slightly different LFO speeds can lead to dramatic and inspiring multidimensional layers and textures. The Oaxa Phaser offers you ten stage, four stage, and uni-vibe phasing all with just three large vintage-style knobs. Alt features offer you a one-knob compressor and an additional low-end depth control. The dual phasers in Oaxa can be run in series or parallel. With true stereo processing and built on our award winning Core series platform, it's perfect for creative stereo effects loops. The Oaxa Phaser sounds so good you'll swear it's analog. It's ideal for creating swirling leads, atmospheric textures, or groovy and funky rhythms.
- Versatile Phasing Options: Switch between lush 10-stage, crisp 4-stage, or vintage uni-vibe modes with just three intuitive knobs for effortless control.
- True Stereo Power: Run dual phasers in series or parallel, perfect for pairing with stereo reverb and delay in your effects loop, creating expansive, studio-quality soundscapes.
- Enhanced Alt Features: A one-knob compressor and low-end depth control add warmth and punch, making every note sing.
- Analog Soul, Digital Precision: Built on our award-winning Core series platform, Oaxa delivers the rich, organic warmth of an analog phaser with modern reliability.
Stompboxtober 2025: Orange Amps
Enter now for your chance to WIN the Orange King Comp — a Class‑A VCA compressor pedal designed with pro‑level dynamics, dual attack/release controls, ultra‑low‑noise performance, and 18 V headroom for serious tone.
Stompboxtober 2025 - Win Pedals All Month Long!
Orange Amps King Comp Pedal
The King Comp is a super low-noise Class A VCA compressor pedal that brings studio-style dynamics to your pedalboard. From subtle squish to bold sustain, it enhances your tone with clarity and warmth without losing touch sensitivity. Use it to tighten your clean tone and smooth out single-note lines, whether you’re playing guitar or bass. The tweakable attack and release knobs allow you to shape your tone to perfection, meaning that whether you’re after subtle polish or full-on squash, the King Comp gives you precise dynamic control with a musical feel that responds like a great amp.
Orange King Comp VCA Compressor Pedal
Keeley Electronics Introduces Oaxa Phaser
Keeley Electronics has launched the Oaxa Phaser, an advanced-yet-user-friendly pedal featuring two independent phasers, each controlled by a dedicated footswitch.
The Oaxa Phaser offers a three-position toggle for selecting 10-stage, 4-stage, and uni-vibe phasing, controlled with three easy-to-grab knobs. The dual phasers in Oaxa can be run in series or parallel, with true stereo processing. Built upon Keeley’s acclaimed Core series platform featuring large vintage-style knobs and pilot light, it’s perfect for creating swirling leads, atmospheric textures, or groovy and funky rhythms.
The Oaxa pedal’s Alt features offer even more sonic flexibility: in Alt mode you can access a one-knob compressor and an additional low-end depth control, and its Alt setting for the three-way toggle switch allows you to select 6-stage, 4-stage or 2-stage phasing.
Oaxa features include:
- Two independent phase circuits, each with its own footswitch
- Versatile Phasing Options: A three-position toggle switch allows you to select between lush 10-stage, crisp 4-stage, or vintage uni-vibe modes
- Alt setting for the three-way toggle allows you to select 6-stage, 4-stage or 2-stage phasing
- Simple and intuitive three-knob operation with Rate (controls the speed of the effect), Depth (controls the width of the phaser sweep) and Feedback (The amount of output added back to the input of the phaser, often referred to as “color”)
- True Stereo Power: Stereo inputs and outputs – you can run dual phasers in series or parallel, perfect for pairing with stereo reverb and delay in your effects loop
- Enhanced Alt Features: A one-knob compressor and low-end depth control add warmth and punch
- Selectable true bypass or buffered bypass modes
- Uses external power 9-18V - 130mA with standard center negative jack
- Built in the USA
Keeley’s Oaxa Phaser carries a street price of $199. For more information visit rkfx.com.
Mr. Black Further Builds a Legacy of Innovation
Building upon a legacy of sonic innovation, Mr. Black proudly unveils the Tri-Chorale – a lush, three-voice chorus inspired by the legendary Southern California designs of the mid-1980s.
At its core, the Tri-Chorale features three independent delay lines modulating in perfect harmony to create a rich, organic shimmer that feels alive under your fingers. Sharing a common LFO but offset in time and phase, these delay triplets breathe unprecedented depth and dimension into the classic chorus sound—elevating it to new, breathtaking territory. Sometimes, the sum is greater than its parts, and the Tri-Chorale proves it.
Key features:
- Three independent modulated delay lines
- Full, lossless wet/dry mix control
- Wide range of LFO speeds
- Pedalboard friendly footprint
- True-Bypass
- Powered by “Industry Standard” 9VDC
The Tri-Chorale carries a MAP of $199.95 and is handmade, one-at-a-time in Portland, Oregon U.S.A.
Available at: www.mrblackpedals.com and retailers worldwide.
Orange Amps Launches King Comp
The new Orange Amps King Comp is a super low noise Class A VCA compressor pedal with 18V DC power supply for extra headroom and subtle envelope shaping control. It brings studio style compression dynamics to any pedalboard and offers a warm musical response with an exceptionally low noise floor.
Developed to meet the ever-evolving musical needs of guitarists and bassists, the King Comp pedal enhances sound by adding sustain, snap and sparkle rather than flattening it, offering smooth, musical, pro-level compression with real character.
The super useful dual attack and release knobs mean users can set how quickly the compression kicks in and shape every note they play. The versatile attack control allows anything from understated tightening to pronounced pogoing bounce to be dialled in. At the same time the equally adaptable release control gives long-lasting sustain for notes and chords that can go on for miles. Plus, there is also visual feedback of any compression applied when the King Comp’s onboard LED switches from blue to pink.
At the heart of the King Comp pedal is the Class A VCA compression circuit that delivers precision dynamics with a warm, natural feel. There is also a high-quality buffered bypass to ensure signals stay strong and consistent, even when the pedal is off. The buffer maintains clarity, keeping sound punchy and defined and makes the King Comp reliable as an always-on part of any setup.
Running with the external 18V DC supply maximises the King Comp’s dynamic range and reduces compression artefacts so the pedal delivers the most transparent version of any instrument's tone, making it especially useful with hot pickups, basses and more complex pedalboards.
The King Comp pedal offers precise dynamic control with a musical feel that responds like a great amp. To find out more please go to www.orangeamps.com.
Stompboxtober 2025: MXR
Today’s giveaway is live! Win the legendary MXR Rockman X100 — a pedal‑sized recreation of the iconic tone machine created by Tom Scholz (of Boston) that defined the sound of ’80s arena rock. Enter now for your chance to win!
Stompboxtober 2025 - Win Pedals All Month Long!
MXR® ROCKMAN® X100™ ANALOG TONE PROCESSOR
The MXR Rockman X100 Analog Tone Processor revives the signature sonic character of Tom Scholz’s celebrated headphone amp and signal processor in pedal form, offering crystalline cleans, crunchy harmonics, and shimmering modulation.
This pedal requires 9 volts and can be powered by a Dunlop ECB003 9-volt adapter or an MXR® Brick™ Series power supply.
MXR Rockman X100 Preamp Pedal
Rig Rundown: Starcrawler
Henri and Bill Cash, the brotherly guitar duo behind Los Angeles glam-rock band Starcrawler, linked with PG’s John Bohlinger before their gig at the Pinnacle in Nashville to show off some rose-colored rock tools. Check out highlights of their dazzling setups below, and tune into our full Rig Rundown to scope the full details.
Brought to you by D’Addario.
Pink Pony Club
This China-made Gretsch Electromatic Double Jet has just a single TV Jones Power’Tron Plus pickup, but beneath the hood, it’s also got a Rangemaster-style treble-boost circuit (as does another 3-string Electromatic that Henri plays). Henri traced out and applied sparkle-pink paper to give the guitar its memorable finish.
This pink powerhouse is tuned to open G.
Flying Bigsby
Daniel Slusser of Slusser Guitars in San Luis Obispo, California, built this custom V-style according to Henri’s requests, borrowing from a design by Japanese builder Saraso Ju. It’s made from pine from Home Depot, bound with leather, and outfitted with a Bigsby and a Filter’Tron pickup for Gretsch groove.
Triple Threat
Cash runs his dry signal to either this Satellite Amplifiers Neutron head or Vox AC15 combo, and his effects go to the Magnatone Twilighter Stereo on the right.
Henri Cash’s Pedalboard
After a pair of Boss TU-3s and a Boss ES-8 switcher, Henri’s board has a pair of DigiTech Drops, TC Electronic Shaker, R2R Electric Preamp, Boss GE-7, MXR Carbon Copy, Way Huge Red Llama, custom “Lamb’s Head” fuzz designed by Henri and Desi Scaglione, EarthQuaker Devices Tentacle, EQD Bit Commander, and Strymon Flint. A Lehle P-Split sends his signal to either the Neutron/AC15 and the Magnatone.
Tweaked Tele
Bill’s main axe is this heavily modified Fender Noventa Tele, with a Curtis Novak P-90 and a Glaser B-bender system.
Slide Away
For slide parts, Bill uses this GFI Expo pedal steel.
Souped-Up Super
Bill plays through this modded Fender Super Reverb Reissue. The tweaks included inserting a 5E3-tweed-Deluxe-Style circuit in first channel that switches to a handwired Super Reverb-style circuit in the second channel so he can use the tweed channel on guitar and clean black-panel tone on pedal steel. It was inspired by a mod he saw Colleen Fazio did to a friend's Bassman where she changed the first and second channel to be channel switching as well.
Bill Cash’s Pedalboard
On his sprayed-painted pedalboard, Bill runs a Boss TU-3, custom “Lamb’s Head” fuzz by Henri and Desi Scaglione, Way Huge Red Llama, Way Huge Conquistador, MXR Micro Amp, DigiTech Drop, Catalinbread Belle Epoch, MXR Reverb, MXR Tremolo, EarthQuaker Devices Levitation, Electro-Harmonix C9, and a Nocturne Brain Mystery Brain.
Gretsch Electromatic Double Jet
TV Jones Power'Tron Plus Pickup
EarthQuaker Devices Bit Commander
Living in Purgatory with Big Thief
In his 2017 book The Order of Time, Italian theoretical physicist Carlo Rovelli looks to Saint Augustine to demystify the question of how it’s possible to experience music if we are physically rooted to the present—while music, of course, happens over seconds, minutes, hours. “It is possible, Augustine observes, because our consciousness is based on memory and anticipation,” Rovelli writes. “A hymn, a song, is in some way present in our minds in a unified form, held together by something—that which we take time to be. And hence this is what time is: It is entirely in the present, in our minds, as memory and anticipation.”
The idea of this middle place poignantly haunts Brooklyn indie-rock band Big Thief's latest record, Double Infinity. In a press release, the band noted that the album title refers to the idea of the “purgatory created by the human brain, always looking to the past or future, between the things we’ve lost and the things we want, between desire and regret.” There are few lyricists in recent memory writing as movingly about this experience—that of looking back, of time passing, moving, receding and stretching out in front of us—as Adrianne Lenker.
“Without this idea of time there’d be no grandmothers and grandfathers, or children,” Lenker says over the phone from Mexico City with bandmate Buck Meek. “There’d be no difference between any stages of life. It’s so wrapped up in reality as we know it, or at least this perceived reality or dream. I feel like it’s such an interesting idea, because it’s a thing that we live with, and the parade leads to the same place for everybody. It’s all wrapped up in death and birth and all of the things we experience along the way, like longing and loss and grief and joy. While you’re falling in love with someone, you’re also perceiving the end of that thing because of time—because of the inevitability of its passing.”
“While you’re falling in love with someone, you’re also perceiving the end of that thing because of time—because of the inevitability of its passing.”—Adrianna LenkerOn one hand, the nature of music makes it a simple task to create compositions concerned with time, as all music occurs over a duration of time. But what does it actually sound like to fully realize that? As a group, and this time with a cohort of studio collaborators, Big Thief’s sonic treatment of these themes captures a specific duality of being: its miraculousness and mundanity. Double Infinity’s production is low-key and handhewn, with rhythms and repetition building feelings that oscillate between grounded and hypnotic, and flourishes of the transcendental—be it blasts of guitar sorcery (“Words”) or ambient icon Laraaji’s wordless vocal flights (“Grandmother”). The result is Big Thief’s most fluid, breathing, flowing record to date—and, for Lenker, an evolution of what the term “rock ’n’ roll” can mean.
“It just immediately makes me think about the bedrock of the earth, and the rolling of the waters and the winds and ethers,” Lenker says. “I think about that dance between what is rooted and solid-feeling and what is fluid and liquid. [Rock ’n’ roll] really needs both.”
Creating music that captures that dance is made easier by a few special tools. Both Lenker and Meek gush over their friends and luthiers Aaron Huff (at Collings Guitars) and Flip Scipio. Huff—“a true Jedi of good in the guitar world,” Lenker says—spent four years building Lenker’s acoustic guitar in his free time, and gifted it to her on the day of a solar eclipse, the same day she met Laraaji. “It’s basically meant for the way I play—open tunings and fingerpicking—and it sounds like a grand piano. It’s so special,” Lenker says.
Meek says two of Huff’s creations at Collings—the 71 and the Ladybird—are in heavy rotation in his quiver. He uses the latter for jazzier songs. Meek and Lenker both also have their own Flipperkasters, custom models made by Scipio. “I’ve never connected with an electric guitar so deeply until he put that in my hand,” Lenker says.
“The guitars we really love are the ones that have been mediums for friendship, or conversations with people in our lives that have really influenced us,” Meek says. “The instrument is kind of just a vessel for that.”
On Double Infinity the guitar, along with the rest of the instrumentation, acts as a conduit for connection. With 10 people improvising arrangements in the studio, the aforementioned fluidity builds from individual players’ intuitive responses to the aggregate. For Meek, that led to a lot of simplifying and repeating lines, offering room to other instruments, and creating an environment where rhythm feels like the element around which everything orbits.
“The guitars we really love are the ones that have been mediums for friendship.”—Buck Meek
“Playing in this band has definitely encouraged me to tap into my intuition more, just through watching Adrianne play and write songs so intuitively,” Meek says about his experience unlearning more academic modes of improvising. “It’s a process of letting go of all of that music theory and just trusting that the language is in there somewhere, and reconnecting with a more somatic approach to improvisation.”
Adrianne Lenker’s Gear
Guitars
Flip Scipio Flipperkaster (sunburst)
Flip Scipio Flipperkaster (woodgrain/gold)
Collings SoCo (green)
Collings SoCo (brown)
Huff acoustic
Amps
1960 Fender Tweed Deluxe
Two-Rock Vintage Deluxe 35-watt head and cab
Effects
Boss DC-2W Dimension C
Mikel Patrick Avery Zeffle Box Type1
Strymon El Capistan
Analog Man Prince of Tone
The GTO Pedal (modded Klon Centaur clone made by Ben Gram, Adrianne's guitar tech)
Lehle amp switcher
Peterson StroboStomp
Strings & Picks
D’Addario EJ16 acoustic strings (.012–.053)
D’Addario NYXL 1252W strings (.012–.052)
D’Addario NYXL Custom Nickel/Steel Set (.011–.015–.018–.028–.038–.054)
G7th Performance 3 ART capos
Kyser capos
Fred Kelly Medium Slick Picks
2- and 4-sided nail files
Buck Meek’s Gear
Guitars and Basses
Collings I-35
Collings Ladybird
Collings 71 M
Flip Scipio Flipperkaster
Guitar Mill partscaster (Throbak pickups, Callaham Guitars hardware)
1954 Gibson Les Paul Custom Staple Pickup Reissue
Bayard acoustic
Amps
1957 Fender Super
1955 Fender Champ 5E1
Effects
Analog Man Beano Boost
Charlie Pedals Troubadour
Lehle volume pedal
Soundgas 636P
Gamechanger Plus Pedal
Mikel Patrick Avery Brackle Box
EHX Attack Decay
EHX Nano POG
Walrus Audio Julia
Fairfield Circuitry Meet Maude
Strymon Flint
Strings & Picks
Fender medium picks
Curt Mangan strings (.010–.046)
This all requires a concentration on being where you are. Settling into the groove, let’s say. The purgatory between Big Thief’s double infinities is, itself, an endlessness. We comprehend its power and depth when we’re jolted into truly feeling it; in moments of profound loss or acute pain or consuming love, past and future briefly cease to exist. If one listens close enough and thoughtfully enough, the effect of Double Infinity, its rolling rhythms and loose drip, is one of tapping into the moment—freedom from the dissolving before and the unknowable after.
“The thing that pushes me to keep making and playing music is that I run into my own limitations all the time, and I just want to get a little bit more free with each album we make.”—Adrianne Lenker
“I feel like the thing that pushes me to keep making and playing music is that I run into my own limitations all the time, and I just want to get a little bit more free with each album we make,” Lenker says. “And I feel like people could be like, ‘What are you doing? It sounds so loosey goosey and wide open,’ and it's like—”
“That’s the very thing I’m proud of,” Meek adds.
“Yeah, that’s great,” Lenker continues. “To be honest, I think I had more fun in that session than I ever have before, because there was this big, open feeling of music and we were listening to all these other people playing with us. It wasn’t about shaping our wants and desires perfectly into the shape we think it should be with our minds. It was about just being there for that experience.”
Eight Classic Boss Pedals in One
Eight digital doppelgangers of Boss classics can be used simultaneously in a single stomp.
BOSS introduces the PX-1 Plugout FX, an innovative hardware platform that captures the timeless BOSS compact pedal experience in one versatile pedal.This convertible stompbox holds multiple authentic effect recreations from the historic BOSS effects lineup, providing endless fuel for every creative journey. Sixteen effects are included with purchase, and more can be added over time with the BOSS Effect Loader app for iOS and Android devices.
Backed by newly developed BOSS algorithms, each effect in the PX-1 delivers the genuine sound and response of the pedal it’s based on. Every detail is modeled with stunning accuracy, thanks to a powerful DSP engine dedicated to recreating the sound of a single effect at a time. Users can dial in tones fast with the familiar BOSS knob interface, supported by an onboard display for current parameters and internal settings.
The PX-1 offers external control with one or two footswitches or an expression pedal. There’s a Swap function to switch between two effects, and nearly any parameter can be assigned for real-time expressive control while performing. Stereo I/O provides flexible connectivity and enhanced sound for models with stereo operation, while tap tempo and MIDI clock support are provided for time-based effects.
Gibson ‘Back to the Future’ 40th Anniversary Guitar Collection
In one of the most iconic scenes in film history, a Gibson ES-345™ Cherry Red guitar took center stage in the film Back to the Future—and today, it’s making history again. To celebrate the 40th anniversary of the beloved Universal Pictures and Amblin Entertainment film starring Michael J. Fox as Marty McFly, and in honor of October 21—officially recognized as Back to the Future Day—Gibson, the legendary global instrument brand, in partnership with Universal Products and Experiences proudly announces the Back to the Future Collection. Featuring limited-edition ES-345 models from Gibson Custom and Epiphone, as well as an exclusive apparel line, the Back to the Future Collection is designed to thrill both guitar enthusiasts and fans of the iconic film. Music and film fans can stop by the Gibson Garage Nashville and London locations to see the entire Back to the Future Collection in person, and worldwide via Gibson.com.
This summer, Gibson and Michael J. Fox launched a global “Lost to the Future” search for the original Gibson ES-345 Cherry Red guitar played by Fox in Back to the Future during the unforgettable “Enchantment Under the Sea” dance scene—a moment that inspired generations of musicians after Marty McFly’s electrifying performance of Chuck Berry’s “Johnny B. Goode.” Despite efforts to find the guitar during the filming of the sequel, the guitar’s whereabouts remained a mystery. Fans worldwide have been submitting tips at www.LostToTheFuture.com, and after thousands of submissions, Gibson has narrowed the search and is actively pursuing a handful of promising leads to locate and authenticate what may be the most significant guitar in movie history.
“Bringing this guitar to life has been a passion project for many years, and it’s incredibly exciting to finally see it become a reality,” says Mark Agnesi, Director of Brand Experience at Gibson. “We couldn’t be prouder of how these guitars turned out—they’re truly special. This is the guitar that inspired me, and countless others from my generation, to pick up playing in the first place.”
The Back to the Future 1955 ES-345 Collector’s Edition from Gibson Custom is limited to just 88 guitars worldwide, a nod to The Time Machine from the film, and features a stunning Cherry Red finish with exclusive design details. The Epiphone Back to the Future ES-345, limited to 1,985 guitars globally, celebrates the year the blockbuster film hit theaters and offers fans an accessible way to own a piece of cinematic and musical history. In addition to the guitars, there’s also an exclusive range of Back to the Future apparel and accessories, including tees, hats, collectible guitar pick tins, a guitar strap, and an AXE HEAVEN® mini guitar that will delight collectors and fans alike.
Back to the Future Gibson Custom Collection guitar case candy includes a flux capacitor, key to the Time Machine, a Casio watch, production still from the film, a guitar strap, picks, posters and a Certificate of Authenticity.
The new Epiphone Back to the Future ES-345 is a replica of the legendary Gibson ES-345 based on the model that Michael J. Fox aka Marty McFly plays in the film Back to the Future. A loving tribute to this cultural icon, the Epiphone Back to the Future ES-345 features a five-ply layered maple semi-hollowbody with a solid maple centerblock for enhanced sustain and improved feedback resistance. The top has four-ply binding with single-ply binding on the back. The mahogany neck has a comfortable Rounded C profile and is topped with a single-ply bound rosewood fretboard with 22 medium jumbo frets and is adorned with pearloid split parallelogram inlays that are a hallmark of the ES-345. The 60s Kalamazoo headstock is equipped with a Graph Tech® nut and Epiphone Deluxe tuning machines with cream Keyston buttons. The Epiphone logo and Gibson Crown are inlaid in mother of pearl. On the back of the headstock, in a nod to the 1985 film, you’ll find a Hill Valley Music store decal. The Back to the Future ES-345 has gold hardware, including an Epiphone LockTone™ Tune-O-Matic™ bridge and a Bigsby® B70 vibrato tailpiece, and just like the guitar in the movie, the original Stop Bar studs are left in place. The Back to the Future ES-345 is powered by two of Epiphone’s acclaimed Alnico Classic PRO™ pickups, each with individual volume and tone controls. A mono Varitone provides even more tonal versatility. It even comes packed in a vintage-style hardshell case with Marvin Berry and the Starlighters graphics. The Epiphone Back to the Future ES-345 is limited to only 1985 units worldwide, and they’re sure to go fast, so unless you have a flux capacitor-equipped Time Machine so that you can go back in time to get one later, you’d better grab yours now while you still can.
Launching alongside the Epiphone and Custom Shop ES-345 guitars, Gibson’s apparel division will release a collection of exclusive, film-inspired merchandise. Ranging from AXE Heaven mini ES-345 Cherry Red guitars to guitar pick tins, straps, T-shirts, and hats inspired by the film, the Back to the Future collection promises to be an exciting addition to any fans collection.
Way Huge Doom Hammer Review
Way Huge didn’t leave much to the imagination when it branded this fuzz the Doom Hammer. But that doesn’t mean it's without surprises. Jeorge Tripp’s latest design is based on an op-amp Big Muff that he modified for a client in the 1990s—primarily with the aim to tighten the low end. You hear Tripps hit that target when you play the Doom Hammer alongside other Big Muff types, which are massive in the low end and can sound comparatively sprawling in that frequency. But rather than merely heavy, the Doom Hammer’s combination of taut lows and the pronounced midrange one associates with op-amp Big Muffs is nasty, buzzy, punky, and brash. For all the desert-rock swagger in the name, the Doom Hammer is just as effective at lending contrast to heavy bass in a mix. And for any stoner rock power trio that has had to work against a wall of bottom-end sludge on stage or in the studio, it’s a practical and intriguing solution.
Fire Breather
Though it’s not hard to hear Big Muff lineage in the Doom Hammer, it can sound vastly different from most Muffs at identical fuzz, output, and tone levels. I didn’t have an op-amp Big Muff on hand for comparison, but in my experience with that circuit, I’ve found they have as much in common with other Big Muffs as they do differences. But Tripp’s recipe puts extra distance between them.
The Ram’s Head and Sovtek Muffs I used to A/B with the Doom Hammer, for instance, each exhibited the creaminess in low-midrange frequencies that makes David Gilmour obsessives ecstatic—particularly with the tone control at more modest levels. The Doom Hammer, however, sometimes has a buzz-saw aggressiveness that evokes a 1960s transistor fuzz swinging on a wrecking ball. And at low output and advanced fuzz levels it can quite convincingly play the part of Tone Bender. More modest fuzz and tone settings strike a more even balance between classic, buttery Big Muff sustain sounds and buzzier ones. And here it’s great for cooking up Carlos Santana and John McLaughlin’s questing lead tangles and Robert Fripp’s snaky synth-like lines. Indeed, the Doom Hammer, for all its midrange emphasis, can be flexible and adaptable.
The Doom Hammer, however, sometimes has a buzz-saw aggressiveness that evokes a 1960s transistor fuzz swinging on a wrecking ball.
Playing a bit more in the spirit of the Doom Hammer’s name (with an SG in drop-D, ’natch) I was still struck by how much less bossy it is in the bass range than a Ram’s Head or Sovtek. But again, this can be an ideal recipe for adding punchy contrast to the bass bomb coming from your bandmate’s Rickenbacker 4003 and Orange stack. It lends snarling aggression to big dumb rock riffs and drones, and detuned guitars sound less buried in blunted, washy overtones.
The Verdict
Jeorge Tripps’ knack for spinning new magic around fuzz formulas—whether with the wild Way Huge Atreides or the more straight-ahead Swollen Pickle—is a gift to fuzz freaks. Because, let’s face it, sometimes ferocious barrages of distortion can start to blur when ears are tired and you’re on the hunt for a different path. The Doom Hammer’s tight bass, and the resulting more prominent midrange, offer a discernibly different texture to work with, however, all while retaining the essential mass and menace that draws a player to a Big Muff in the first place.
Way Huge Doom Hammer Review
Way Huge didn’t leave much to the imagination when it branded this fuzz the Doom Hammer. But that doesn’t mean it's without surprises. Jeorge Tripp’s latest design is based on an op-amp Big Muff that he modified for a client in the 1990s—primarily with the aim to tighten the low end. You hear Tripps hit that target when you play the Doom Hammer alongside other Big Muff types, which are massive in the low end and can sound comparatively sprawling in that frequency. But rather than merely heavy, the Doom Hammer’s combination of taut lows and the pronounced midrange one associates with op-amp Big Muffs is nasty, buzzy, punky, and brash. For all the desert-rock swagger in the name, the Doom Hammer is just as effective at lending contrast to heavy bass in a mix. And for any stoner rock power trio that has had to work against a wall of bottom-end sludge on stage or in the studio, it’s a practical and intriguing solution.
Fire Breather
Though it’s not hard to hear Big Muff lineage in the Doom Hammer, it can sound vastly different from most Muffs at identical fuzz, output, and tone levels. I didn’t have an op-amp Big Muff on hand for comparison, but in my experience with that circuit, I’ve found they have as much in common with other Big Muffs as they do differences. But Tripp’s recipe puts extra distance between them.
The Ram’s Head and Sovtek Muffs I used to A/B with the Doom Hammer, for instance, each exhibited the creaminess in low-midrange frequencies that makes David Gilmour obsessives ecstatic—particularly with the tone control at more modest levels. The Doom Hammer, however, sometimes has a buzz-saw aggressiveness that evokes a 1960s transistor fuzz swinging on a wrecking ball. And at low output and advanced fuzz levels it can quite convincingly play the part of Tone Bender. More modest fuzz and tone settings strike a more even balance between classic, buttery Big Muff sustain sounds and buzzier ones. And here it’s great for cooking up Carlos Santana and John McLaughlin’s questing lead tangles and Robert Fripp’s snaky synth-like lines. Indeed, the Doom Hammer, for all its midrange emphasis, can be flexible and adaptable.
The Doom Hammer, however, sometimes has a buzz-saw aggressiveness that evokes a 1960s transistor fuzz swinging on a wrecking ball.
Playing a bit more in the spirit of the Doom Hammer’s name (with an SG in drop-D, ’natch) I was still struck by how much less bossy it is in the bass range than a Ram’s Head or Sovtek. But again, this can be an ideal recipe for adding punchy contrast to the bass bomb coming from your bandmate’s Rickenbacker 4003 and Orange stack. It lends snarling aggression to big dumb rock riffs and drones, and detuned guitars sound less buried in blunted, washy overtones.
The Verdict
Jeorge Tripps’ knack for spinning new magic around fuzz formulas—whether with the wild Way Huge Atreides or the more straight-ahead Swollen Pickle—is a gift to fuzz freaks. Because, let’s face it, sometimes ferocious barrages of distortion can start to blur when ears are tired and you’re on the hunt for a different path. The Doom Hammer’s tight bass, and the resulting more prominent midrange, offer a discernibly different texture to work with, however, all while retaining the essential mass and menace that draws a player to a Big Muff in the first place.
Introducing The Reverend Reeves Gabrels Rg-Sus Mark II
Introducing the Reverend Reeves Gabrels RG-SUS Mark II, reimagined with a new three-pickup layout. It features a 5-way selector for tone options galore. Fire up the acclaimed Sustainiac system for organic, controllable feedback and endless sustain. This system adds a whole new dimension to your playing, and it will pump up your creativity to a new level. If you’re a tone-shaping maniac, you need the Reeves Gabrels RG-SUS Mark II!
Reeves Gabrels has the unusual distinction of meeting David Bowie and forming a band with him – Tin Machine in 1989. He went on to work with Bowie in his solo career and a successful solo career of his own with his band Reeves Gabrels and His Imaginary Friends. He is currently the lead guitar player in The Cure, as well as involved with founding the project Gabrels/Kane/Parker-Wells.
The Reverend Reeves Gabrels RG-SUS Mark II is now available through any Reverend Authorized Dealer.
About Reverend Guitars:
Founded in 1997, Reverend Guitars has been at the forefront of creating instruments that are beyond the ordinary. With a commitment to quality, innovation, and the artistry of music, Reverend Guitars continues to inspire musicians worldwide. Each instrument is a testament to the brand's dedication to the craft, inviting players to explore new realms of sonic possibilities. Well played, indeed.
Gibson & Epiphone Honor Back to the Future's 40th Anniversary!
Turn back the clock, fire up the DeLorean, it's time to save the Hill County Courthouse & Clocktower. The only way to do that is to rock out with a cherry ES-345 like it's 1955!
D’Addario Launches the Pick Holder 360
D’Addario introduces the Pick Holder 360, a sleek, fun new way to keep your favorite picks organized and visible, easy to reach, and ready to play.
Spin, Grab, Play
The Pick Holder 360 offers rotating, stylish, easy-access storage for guitar picks of all shapes and sizes. Designed for one-handed use, all you have to do is give it a spin, grab your pick, and play. It’s a quick, perfect buy for musicians, custom pick collectors, or anyone simply looking for the perfect stocking stuffer for the musician in their life.
Highlights
- 360° Access: Rotating design keeps every pick within easy reach
- Stylish Storage: Sleek tabletop design fits comfortably in any setup
- Universal Fit: Holds picks of various sizes and shapes securely
- Gift Ready: Perfect for musicians and music lovers alike
Availability & Pricing
- The D’Addario Pick Holder 360 will be available October 13, 2025, through daddario.com and authorized retailers
- Street price: $19.99
- Watch the video: ddar.io/pickholdervideo
Brazilian Guitar Virtuoso Releases Long Awaited Debut Single "Cryin"
Mateus Asato, the Brazilian guitarist, composer, and musical innovator who is celebrated for redefining modern guitar artistry, has released his first official single, “Cryin’” today. The song will be on his forthcoming debut album, due out in early 2026.
About the release, Masato says, “‘Cryin’’is my emotional celebration of life — the first act of being human and the sound of joy, fear, and love all at once. It’s a reminder that life is full of emotions, vulnerability, and movement, and you’re free to feel it your own way.”
Born in Campo Grande, Brazil, Asato began playing guitar at age nine and quickly developed a soulful, melodic style that blends technical mastery with deep emotional expression. After moving to Los Angeles to attend the Musicians Institute, he graduated with top honors and received the Outstanding Guitar Player of the Year award.
His expressive playing and viral Instagram performances propelled him to international fame, earning millions of followers and recognition as one of the most influential guitarists of his generation. Asato has toured and recorded with global superstars including Tori Kelly, Jessie J, and Bruno Mars, performing at venues such as Tokyo Dome and the Grammy Awards as part of Mars’s Silk Sonic band.
Mateus has been named among Guitar World’s Top 10 Guitarists of the Decade and Total Guitar’s Top 3 Guitarists in the World Today. Beyond his technical prowess, he is revered for bringing lyrical storytelling to the instrument — bridging genres from pop and R&B to instrumental fusion — and inspiring a new generation of players worldwide.
Stompboxtober 2025: Chase Bliss
Today’s prize is the Brothers AM — a tone‑twinned beast with double gain channels, treble‑booster mode, full MIDI/Expression control, and the soul of a legendary overdrive built “in collaboration with” Analog Man. Enter now for your chance to WIN today’s gear — and don’t forget to comeback tomorrow for another killer giveaway!
Stompboxtober 2025 - Win Pedals All Month Long!
Chase Bliss Brothers AM
Made in collaboration with Analog Man himself, Brothers AM is a tribute to the legendary King of Tone overdrive.
It takes that coveted circuit, gives you advanced control, and tosses in a couple exciting bonuses – but it doesn’t mess with what made it so good in the first place.
A stack of sunny saturation that always manages to sound just right.