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Premier Guitar
PRS Guitars Introduces Silver Sky Defender Color Collection Limited Editions
PRS Guitars today announced the Silver Sky Defender Color Collection, a series of eight limited-edition guitars designed in collaboration between PRS Signature Artist John Mayer and the British 4x4 brand. The lineup includes four classic Land Rover Defender colorways on the US-made Silver Sky and four contemporary Defender colorways on the SE Silver Sky. The US-made guitars will be limited to 500 of each color. The SE guitars will only be available during a limited order window, ending midyear 2027. These guitars can be preordered now through Authorized PRS Dealers.
“Teaming up with Defender to offer the Silver Sky guitar in their legendary 4x4 colors is a dream come true. I’ve always chosen colorways based on objects and materials that inspire me in the world, and as a collector and lover of Defenders, this collaboration is the perfect crossover between two great passions of mine,” said John Mayer.
The idea began with Mayer’s own Defender in the heritage color Arles Blue, which he has owned for nearly two decades. His appreciation for the distinctive colors offered by the brand has grown over the years. That inspiration has now found its way onto the Silver Sky in some unexpected details. The guitars’ plastics were chosen to complement two Defender configurations, with contrasting black or white roofs. The result is a collection of Silver Skys with a distinctly Defender-inspired point of view, bringing together two designs in a way that feels natural to both.
The PRS Silver Sky and the Defender are made to inspire exploration, whether through music or through terrain. They are also meant to demonstrate that design and color can combine to be a powerful expression of identity, individuality and personal taste.
“Defender’s iconic color palette, spanning both heritage and contemporary finishes, translates beautifully to the PRS Silver Sky Defender Limited Edition guitars. I have no doubt that collectors, musicians and Defender fans alike will be eager to get their hands on one of these highly desirable instruments,” said Paula Gharizi, Brand Director for JLR North America.
The Silver Sky Defender Limited Edition is offered in Defender’s heritage colors (with white pickguards and control knobs), celebrating the brand's rich heritage and the optimism, individuality, and character that has defined generations of classic vehicles. This set comprises four classic Defender finishes, starting with Mayer’s own Arles Blue Land Rover Defender. These guitars will have exclusive hard cases boasting the Defender wordmark, neckplates with the brand logo and that instrument’s color name called out, and matching painted headstocks. Only 500 of each color will be available worldwide.
- Arles Blue is inspired by open skies, coastal roads, and the freedom to take the long way home. A color to match the horizon, it harkens back to when adventure in a Defender became a destination in its own right
- Willow Green is a nod to Defender's rural beginnings, where muddy lanes and stone walls were part of the daily landscape, reflecting the fields, hedgerows, and muddy lanes where Defender earned its reputation.
- Portofino Red is warm, confident, and full of character; a reminder that utility and personality have never been mutually exclusive. It is a statement color reflecting a generation of owners who chose Defender as much for its bold character as its capability
- Sandglow Yellow is the color of adventure, desert dust and distant horizons. It is inspired by iconic Trophy and Challenge events of the past and the spirit of expedition travel that helped define Defender for a generation.
The SE Silver Sky Defender Limited Edition is offered in four Defender contemporary colors (with black pickguards and control knobs – a first for any Silver Sky model) inspired by landscapes and destinations that embody the spirit of exploration. Like the US-made versions, this set of colorways will have neckplates with the Defender logo and the color called out on them. These guitars will also have an exclusive PRS/Defender gig bag. Although the number of the SE instruments made will not be capped, they will only be available for order until midyear of 2027.
- Petra Copper takes its name from the ancient Jordanian city carved into rose-colored rock, translating natural stone hues into a refined metallic finish.
- Sedona Red draws inspiration from Arizona's dramatic sandstone formations, combining rich earthy reds with warm copper undertones.
- Carpathian Grey references the Carpathian Mountains, conveying ruggedness, scale and sophistication through a deep, sparkling grey.
- Woolstone Green connects modern Defender to both place and heritage, named after the Oxfordshire village while reinterpreting Defender's iconic green color space through a contemporary metallic finish.
Introducing the guitars in the automotive world ahead of the official launch, Defender hosted a preview of the guitars for select owners of the 4x4 during their September 11- 13, 2026 Destination Defender event in Temecula, Calif., a weekend of curated outdoor activities, drive experiences, live music, and a vehicle museum.
In addition to these runs, PRS will produce a small run of Silver Sky Defender Limited Editions in classic British Racing Green. Not available for purchase, these will be used as part of fundraising efforts for both the Defender Service Awards and John Mayer’s charity focused on veterans’ health, The Heart and Armor Foundation.
For all of the latest news, visit www.prsguitars.com and follow @prsguitars on Instagram, TikTok, Facebook, X, and YouTube.
BOSS XS-100 Poly Shifter Review
For over a decade, the DigiTech Whammy has, more or less, owned foot-controlled pitch-shifting outright. There have been challengers. There have been contenders for the crown. But when the dust settles, in the imaginations of most, what one hears are Tom Morello’s dive-bombs, Dimebag’s squeals, and Jack White reminding everyone that a guitar pedal can also be a weapon. Boss, a company that can similarly dominate a category, is now dancing at the Whammy’s party. And it’s not messing around.
The XS-100 splits its personality in two. There’s a treadle-operated pitch bender that handles the Floyd-Rose-style dives and impossible upward screams, and a footswitch-operated transposer for down-tuning and virtual-capo duty. That’s a smart division of labor. You get expressive, real-time pitch-mangling under your toe, and instant, glitch-free re-tuning in an immediately adjacent position, without needing to choose which personality and functionality make the grade on your board.
When you add up the possible tones the XS-100 can span, the numbers are impressive. You can shift up to four octaves up or down via the rocker treadle. That’s eight octaves of total range, which I’d venture is more pitch-shifting range than most players will ever need. But if you’re inclined to experiment with the outer limits of your guitar, you’ll love having it. There are so many unusual, unexpected sounds here, in addition to scads of very musical, practical harmonizing and re-tuning capabilities too.
The sounds you can keep in memory are a huge asset too. Thirty slots are available, and can be scanned via the compact but practical LCD screen. MIDI and USB-C capabilities, meanwhile, extend the pedal’s possibilities for studio rats and committed pitch-shifting nerds to take the XS-100 to its furthest reaches.
Pitch in Practice
Here’s the thing about pitch shifters—the spec sheet is basically theater until you ask the real question: Does it track cleanly on chords? Polyphonic pitch-shifting has almost always demanded some kind of tone sacrifice in the shape of digital artifacts, and sustained leads and complex voicings tend to expose every weakness in an algorithm. Boss does its bit to solve the problem with what it calls Adaptive Focus—a fast processing method that uses high-resolution 24-bit conversion. In practice the payoff is pretty clear. The XS-100 preserves attack and tonal characteristics, even on full chords, without the warbly, seasick artifacts that plague lesser shifters. Whether you’re layering a full-step-up harmony under a lead line or dropping an entire chord progression down an octave for that “did the room just get bigger?” effect, the tracking stays glassy-smooth.
“The XS-100 preserves attack and tonal characteristics, even on full chords, without the warbly, seasick artifacts that plague lesser shifters.”
Does it top the Whammy? That depends what you’re after. The XS-100’s shifting often sounds cleaner and its range is wider. But it trades away some of the Whammy’s beloved knack for chaos and unpredictability. After all, the Whammy’s slight wildness is for many players a feature, not a bug. The XS-100’s detailed menu system also demands a bit more patience than the Whammy’s dead-simple stomp-and-go approach. The Boss is definitely a deeper tool, but that depth can come at the cost of intuitiveness. How you relate to those tradeoffs probably makes a trial run at your local shop a good idea. But with 30 presets, a genuinely sculptable balance control for blending dry and shifted signals, and that eight-octave range, the XS-100 gives serious players a lot more to work with once they’ve climbed the learning curve. With so much to explore, diving in blind could be a lot of fun for a lot of folks.
The Verdict
At $349, the XS-100 isn’t inexpensive. But it’s certainly not a novelty. It’s a legitimate, well-engineered challenger in a category where the Whammy stubbornly remains the standard. If you long for expressive dive-bombs, on-the-fly drop tuning, or harmonized leads that need to survive contact with a full chord voicing, the XS-100 can earn its keep. The Whammy cult is nothing if not loyal; the throne hasn’t necessarily changed hands. But for the first time in a long while, there’s a pitch pedal that can put up a real fight for it.
XS-100
Polyphonic Pitch-shift Guitar Pedal with LCD Screen, 30 Memory Slots, MIDI I/O, Dry-through, Expression Pedal, and Effect and Tune Down Controls
Mad Professor Launches Milestone Germanium Fuzz
Mad Professor Amplification has released the Milestone, a new germanium fuzz pedal inspired by vintage mixing consoles, reimagining the earliest fuzz sounds for the modern player.
The Milestone pedal is designed to stack well with other effects, with a dynamic and touch sensitive fuzz circuit and two band EQ for fine tuning your guitar tone. With its versatile EQ, the Milestone is also designed to sound great on bass guitar.
Milestone features a transformer circuit allowing the pedal to be placed after buffers or other pedals without changing the character of the fuzz or losing the touch sensitivity of the effect. This makes the Milestone the perfect fuzz for stacking with other pedals and opens the door for experimentation with unconventional pedal order.
- Germanium transistor fuzz pedal
- Dynamic and touch sensitive effect
- Two band EQ with Bass and Treble controls
- Transformer circuit to allow use after buffers or other pedals
- True-bypass switching
- 9-volt operation by external power supply (no battery compartment)
- Handmade in Finland
Milestone is part of Mad Professor’s handwired series handmade in Finland. The Milestone carries a street price of $370. For more information visit www.mpamp.com.
Why Queens of the Stone Age Still Matter
The longtime QOTSA multi-instrumentalist details and demos his new signature Squier Paranormal Troy Telecaster XII that's modeled after a Paul Waller Masterbuilt 12 he's had for a decade. In addition to recounting how a prototype survived a delivery truck rollover and riffing some of the quintessential 12-string Queens' songs, TVL explores the band's evolution resulting in their 9th album, Perfecth, releasing 10/30. Troy even dishes on the quintet's mission to age gracefully like Iggy Pop and share his surpringsly pragmatic reason for dressing dapper.
Why Queens of the Stone Age Still Matter
The longtime QOTSA multi-instrumentalist details and demos his new signature Squier Paranormal Troy Telecaster XII that's modeled after a Paul Waller Masterbuilt 12 he's had for a decade. In addition to recounting how a prototype survived a delivery truck rollover and riffing some of the quintessential 12-string Queens' songs, TVL explores the band's evolution resulting in their 9th album, Perfecth, releasing 10/30. Troy even dishes on the quintet's mission to age gracefully like Iggy Pop and share his surpringsly pragmatic reason for dressing dapper.
Cort Guitars Announces the Retro 304 Short-Scale Bass
Cort Guitars has officially unveiled the Retro 304, a new short-scale bass guitar scheduled for June 2026 production. Developed for players seeking the specific feel and tonal character of a 30-inch scale instrument, the Retro 304 combines traditional material choices with streamlined controls. By focusing on reduced string tension and a deliberate vintage-voiced output, Cort aims to provide a serious tool for both long recording sessions and live performances where ease of playability is paramount.
The Retro 304 is built with a solid alder body, a choice intended to bring warmth and resonance to the instrument's fundamental character. The body is finished in a high-gloss coating available in two classic color options: Seafoam Green (SFG) and Candy Apple Red (CAR). This construction serves as the foundation for a bass designed to deliver a warm low-end and defined attack, ensuring the instrument holds up across a variety of playing situations.
The bolt-on neck is constructed from hard maple, featuring a comfortable "U" shape and a matte finish for a smooth feel. With a 30-inch (762mm) scale length, the instrument provides less string tension, helping reduce player fatigue during long practices or performances. The rosewood fingerboard has a 9.5-inch radius and houses 20 nickel silver frets, which are selected for their durability and wear resistance. Other neck specifications include a PPS nut with a width of 1 5/8” (41mm) and white dot position inlays.
At the heart of the Retro 304’s electronics is the Cort Voiced Tone VTB-TB pickup. This passive humbucker pickup is specifically voiced to avoid a generic sound, instead offering a deliberate vintage character that emphasizes a defined attack. To keep the player’s focus on performance rather than complex signal management, the control layout is intentionally minimal, featuring a single volume knob and a single tone knob.
Rounding out the specifications is a suite of chrome hardware, including the Cort Retro Bridge, which anchors the instruments sustain while keeping a consistent vintage aesthetic. Keeping with the retro vibe, the bass is equipped with open-gear tuners and features a 2-way adjustable truss rod with a spoke nut for easy maintenance. The Retro 304 comes factory-strung with D'Addario EXL170S strings.
For more information on the Retro 304 and to view more images, please visit www.CortGuitars.com
Vox Amplification Introduces the AC Mini Amplifier
Vox Amplification announces the release of the AC MINI, a compact and affordable 10-watt guitar amplifier designed to bring the feel, look, and tone of the iconic AC Series into smaller playing environments. Developed by the same engineering team behind the acclaimed Vox AC Hand-Wired Series, the AC MINI addresses the needs of home players, practicing musicians, and songwriters who require authentic amp response at manageable volumes without navigating complex digital menus.
At the heart of the AC MINI is an all-analog, 10-watt solid-state architecture powered by the newly developed Vox Dynamic Response Circuit. Pushing sound through a single 3-inch Vox original 8-ohm speaker, the amplifier is engineered to replicate the dynamic response, natural compression, and rich harmonic characteristics typically associated with classic tube amps. The all-analog design ensures that the amplifier delivers sound with real body and presence.
The tone-shaping section centers on an intuitive, two-channel control panel modeled after traditional Vox AC layouts. The analog circuit is designed to preserve the natural character of different pickups, from single coils to humbuckers, and responds dynamically to pick attack and guitar volume adjustments. For additional gain and sustain, an onboard BOOST switch pushes the preamp into expressive overdrive, introducing harmonic overtones while maintaining musicality across the full sweep of the controls.
For spatial effects, the AC MINI features an onboard digital reverb specifically developed and voiced by the Vox engineering team. Designed after extensive analysis and critical listening, the reverb emulates the warmth, subtle movement, and character of a classic spring reverb tank, adding natural depth and sustain to the signal.
The top control panel provides a direct 6.35 mm (1/4 Inch) instrument input jack alongside a 3.5 mm stereo mini-phone AUX input and a 3.5 mm stereo mini-phone headphone output. The AUX input allows players to connect to a smartphone, tablet, or external audio device to play along with backing tracks, while the dedicated headphone output enables quiet practice sessions. The unit operates via an included DC 12V AC adapter (1A current consumption, 12 Watts power consumption).
Housed in a wood cabinet with a bass-reflex porting design, the enclosure leverages the material’s balanced mass and natural resonance to optimize low-end response and overall frequency balance. Measuring 221 × 125 × 180 mm (8.70˝ × 4.92˝ × 7.09˝) and weighing 1.8 kg (3.97 lbs.), the amplifier sports classic Vox aesthetic hallmarks, including a traditional split-front cabinet design, diamond grille cloth, and a gold Vox logo.
Street Price: $99.99 USD
For more information, please visit www.voxamps.com
Sole Power Pedal Reviews
Electro-Harmonix EHX Percolator Review
The InterFax Harmonic Percolator HP-1 circuit revealed its magic to me over a long period of time. Like just about everyone, I’ve never played an original. And when I finally encountered a reproduction at a recording session, it was the wrong pedal at the wrong time. I walked away from it vaguely disappointed and moved onto other things. Luckily for me, though, I came to be a colleague of Premier Guitar editor Joe Gore. Joe’s simple guidance for navigating the Harmonic Percolator lit the way to loving the circuit.
Daredevil Double Cocked Review
A lot of players spin magic and craft signature tones from a cocked wah. (For those that don’t know, the cocked wah sound is that honking, mid-rangey, filtered tone that you get when you park a wah pedal at a specific angle and leave it there to do its dirty work.) Frank Zappa did it. Mick Ronson did it. So did Michael Schenker. And for the last decade, Matt Pike of High on Fire and Sleep—a man whose entire tone philosophy seems to be “louder, and also weirder”—used various versions of Daredevil’s Atomic Cocked circuit to do that job.
Beetronics Seabee Lite Review
If you’ve never played a Beetronics pedal, the company’s extroverted design ethos might seem like a style-before-substance exercise. Nothing could be further from the truth. For starters, Beetronics’ wares are genuinely substantial in terms of quality. The brand is also inventive—and more than a little irreverent at times—when it comes to sonics.
Old Blood Noise Setback Review
I have to resist reverse delay like most have to resist ice cream. A totally uninhibited version of myself would probably record multiple box sets’ worth of reverse-delay-based music given the chance. Old Blood's Setback reverse delay makes a project of that scope seem totally possible, too.
Keeley Tube Drive Review
When I see an overdrive powered by a real tube, I’m predisposed to think about all those things that you associate with glowing tubes and overdrive—low-to-medium gain, warm, toasty, maybe even mellow tones. Keeley’s Tube Drive (which was originally issued in a limited edition of 100 fitted with 76-year-old Sylvania 12AT7s) dishes drive tones that are all those things, and sounds beautiful doing it. But the Tube Drive is made up of two sections. One is powered by a 12AX7 (alas, no ultra-rare antique tubes in this version.) The other is Keeley’s Phat Mod, a riff on the JFET Boss BD-2 Blues Driver, another circuit regarded as warm and responsive. Together, though, the two drive circuits expand each other’s range exponentially—right up to wicked saturated sounds that make a low-wattage combo more akin to a big British stack.
Mile End Effects Sofort, Si Fort Review
Mile End Effects does not do “subtle.” From art to enclosure to audio, Montreal builder Justin Cober’s pedals make big, bold statements. Even against a lineup of effect units that look and sound like Cold War-era machines of destruction, his latest creation, the Sofort, Si Fort, might just be the most devastating yet: a two-in-one design that combines a Sovtek Big Muff and Ampeg Scrambler elements.
Strymon Canoga Review
The Strymon name is commonly associated with fully featured, and sometimes complex, digital pedals. But if the company’s new analog endeavors are something of a surprise, they are already yielding promising results. The new Canoga fuzz emanates from some down-time/chill-out projects built by CEO and chief analog engineer Gregg Stock about a decade ago. But now it’s very real, and one of the first offerings from Strymon’s new all-analog, U.S.-built, Series A lineup.
Walrus Audio Highpoint Review
For some players, compression, and compression pedals, are exciting at a level just above a tuner or volume pedal—essential in some cases, but not the kind of thing that gets the blood pumping. For others, compression is an essential facet of their sound, perhaps even the core of it. For these players, the differences between compressors are meaningful and consequential, and separate a true creative device from a joyless, utilitarian tool. Walrus Audio’s Highpoint is more likely to appeal to players who see the painterly possibilities in a compressor. As an optical comp, it offers the smooth, fuzzy, non-linear glow that makes a good opto sound less sterile and bossy than a voltage controlled or FET compressor. It also has a control set that can get surgical. The $349 price reflects the pedal’s power and flexibility, and signals that this isn’t one for compression casuals. But while committed comp nuts might find the most to love here, less experienced users might be very surprised and impressed by what an asset the Highpoint can be.
Dominion Electric Filmotone Review
Aaron Sabourin runs Dominion Electric Effects Co., out of Ottawa, Ontario, as a one-man show, building effects using pricey, vintage parts when his day job permits him to. His Faceless Fuzz and Soul Power—inspired by the Fuzz Face and Hendrix’s screaming tone at Fillmore East circa 1970, respectively—are top-shelf recreations of common circuits that have been around for a long time. But it’s Sabourin’s commitment to using premium components in bomb-proof builds that make his pedals so coveted. His latest design, the Filmotone, strays a little further from the guitar-tone canon: It’s an effect pedal designed to approximate the sound and dynamic feel of a single-transistor preamp wrenched from the guts of a Bell & Howell Filmosound film projector.
Vox VFZ-1 Fuzz Review
In design and engineering terms, a vintage fuzz is a comparatively basic thing. And most of the earliest vintage fuzzes evolved from common ancestry. But as we’ve discovered in the intervening years, even small differences in a simple design can mean profound shifts in performance and personality.
Tsakalis AC Master Review
Amp-in-a-box pedals are a world unto themselves these days, spanning everything from digital simulations to discrete analog versions of amp topologies. Tsakalis AudioWorks of Piraeus, Greece takes the latter approach with their new AC Master. But here they couple a vintage AC30-based channel with a circuit inspired by the Dallas Rangemaster treble booster. As any fan of Brian May or Rory Gallagher will tell you, that’s a recipe that approaches perfection. But the AC Master’s tone-shaping power doesn’t stop with the addition of the treble booster. The pedal’s amp section also features approximations of an AC30’s top boost and normal channels, which can be blended with each other to create more complex drive textures. It all adds up to an impressive and varied array of Vox-style sounds in a single pedal.
Supercool Pedals Spritz! Saturator Review
Supercool Pedals, based in Peterborough, Ontario, released the original Spritz compressor, a simple 2-knob pedal, back in 2022. Earlier this year, builder Jamie Muir overhauled that design and released the Spritz! Saturator, adding a “tube simulation” overdrive circuit with its own discrete controls in addition to the familiar dual-knob setup. Like its titular drink on a hot summer afternoon, the Spritz! Saturator is a refreshing, invigorating treat.
EarthQuaker Scrolls Bass Odyssey Review
I thought I had everything a gigging bassist could possibly need. I usually get a pretty solid bass tone, the players and clients I engage with generally like it, and I tend to feel pretty good about my EQ choices. Some instruments I like to run direct, without much tonal color. Others I run through an amp, where I can get plenty of it. Between the two, I figured I had any session covered.
Jackson And Phil Collen Collaborate With New Pro Series Signature PC1-E
Jackson introduces the Pro Series Signature Phil Collen PC1™-E, the latest chapter in a nearly four-decade collaboration with Def Leppard guitarist Phil Collen. Since debuting his first Jackson signature model in 1989, Collen has developed four distinct signature instruments with Jackson, each evolving alongside his playing and creative needs. The new PC1-E marks the next evolution of Collen’s longtime PC1 and brings the model to the Pro Series for the first time.
“Being relic’d, my signature PC1-E is worn in, but it is definitely not worn out,” said Phil Collen, Jackson signature artist. “It has many of the qualities of my vintage PC1s, like the pickup, compound radius fingerboard and Floyd Rose, wrapped in a beautiful aesthetic that delivers. I’m loving it, and I can’t put it down.”
As one of Jackson’s longest-standing signature artists, Collen’s relationship with the brand has evolved alongside his career, spanning instruments including the Phil Collen PC Archtop, PC1, Custom Shop PC Supreme and PC1 Ninja. Each has reflected Collen’s evolving needs as a player, with the new Pro Series PC1-E marking the latest chapter in that collaboration. This model brings key elements of his longtime signature instrument to the Pro Series for the first time and reflects Jackson’s ongoing commitment to making premium, artist-driven instruments accessible to guitarists at every level. The launch follows another milestone for Collen and Def Leppard, who were recently honored with a star on the Hollywood Walk of Fame.
“Phil is one of Jackson’s longest-standing artists and has played an important role in our history,” said Jon Romanowski, VP of Product, Jackson. “Our relationship has always been truly collaborative. Phil regularly visits the factory to work with our team as his instruments continue to evolve, and he’s become part of the DNA of Jackson over nearly four decades. The PC1-E is a meaningful next chapter in that relationship, bringing his signature instrument to a new generation of players.”
The Pro Series Signature Phil Collen PC1-E is engineered for players looking to channel Collen’s rock legacy. Featuring a road-worn finish, this is Collen’s first signature available outside the Custom Shop, bringing his sound to a wider range of players.
Key features include:
- Floyd Rose® 1000 Series Tremolo – For Phil’s dive bombs and string bends, the Floyd Rose delivers unwavering tuning stability.
- PC1 Sustainer Driver Neck Pickup with 18V Battery System – Available at the flip of a switch, this feature powers Phil’s live performances, letting him sustain notes indefinitely for expressive depth in every solo.
- Genuine Mahogany Body – Infuses Phil Collen’s signature guitar with a warm, resonant tonal foundation, providing the durability he needs to deliver consistent tone night after night on tour.
- Black Distressed Finish with Gold Hardware – This road-worn aesthetic with gold hardware adds a striking contrast on stage.
Pro Series Signature Phil Collen PC1™-E (MSRP: $2,199.99 USD, £1,699 GBP, €1,999 EUR, $3,499 AUD, ¥330,000 JPY) Phil Collen has wielded Jackson since 1986, and the Pro Series PC1™-E carries on the legacy of his landmark PC1 Dinky® — one of Jackson's first artist collaborations. Features a mahogany body, caramelized maple neck with graphite reinforcement and ebony fingerboard with compound radius and 24 jumbo frets. Loaded with a DiMarzio® X2N® bridge humbucker, DiMarzio Sugar Chakra™ middle and the PC1 Sustainer Driver (18V) for infinite sustain. Push-pull coil splitting, Floyd Rose® 1000 Series tremolo with locking tuners, black distressed finish with gold hardware and foam core case included.
BOSS Releases EX-4 Effects Expander
BOSS announces the EX-4 Effects Expander, a powerful compact effects processor that infuses any pedalboard setup with a massive boost in sonic versatility. Modern players carefully curate their pedalboard builds, and every slot must earn its place. Offering a large selection of classic BOSS effects in a space-saving design, there’s no better utility pedal than the EX-4. It’s ideal for musicians who love to experiment with effects, and an essential toolbox for anyone who needs to cover many songs/styles or build professional sounds on the fly.
The EX-4 delivers up to four simultaneous effects from a vast onboard library. Every major category is available among the 120 effect selections, including overdrive and distortion, modulation, delay, and reverb, as well as bass-tuned effects and unique BOSS favorites like Slow Gear and Slicer. Dedicated utility blocks can be placed anywhere within an effect chain—including foot volume, two noise suppressors, send/return, and divider/mixer—and there’s also a global EQ for overall sound shaping.
The EX-4’s Gear Suite feature makes it quick and easy to call up ready-to-go sounds. Each effect type comes with multiple pre-made Gear Suite settings with professionally tuned parameters, all available with the turn of a knob. It’s also possible to edit effect parameters and save favorites in user locations for instant access to personalized setups.
A full color 2.4-inch display provides clear viewing of the full effect signal chain, individual effect blocks, editing options, menus, and more. Four dedicated FX buttons allow users to turn effect blocks on/off with a single press and access editing parameters with a long press. In addition, the FX button colors match each effect's display colors for easy identification.
The EX-4 features rugged dual-function footswitches that can be custom-configured system-wide or per memory, with assignments that include effect block on/off, memory up/down, master bypass, tap tempo, and more. A newly designed color LED system surrounds the footswitches, allowing users to clearly identify current footswitch functions while performing.
Four audio jacks provide mono or stereo connectivity, with the option to use two jacks as an effect loop to place external pedals anywhere within the EX-4's effect chain. Two footswitches or an expression pedal can be connected for more real-time control, while low-profile TRS MIDI I/O unlocks deep integration with other MIDI pedals, switching systems, and external clocking devices.
To learn more about the EX-4, visit www.boss.info.
Availability & Pricing The BOSS EX-4 will be available in October for $299.99.
Sterling Announces The Stingray II In Collaboration With Cory Wong
Sterling today announced the StingRay II, developed in collaboration with acclaimed guitarist Cory Wong, best known for his work with Vulfpeck and Fearless Flyers, as well as his extensive career as a solo artist, producer, and collaborator. This highly anticipated model marks the debut of the StingRay II in the Sterling lineup, bringing the guitar design to a more accessible price point.
Inspired by the iconic StingRay bass, the StingRay II guitar carries forward the distinctive design elements that made the bass so beloved, including its signature ergonomic body, oval-shaped pickguard, and oversized headstock, while reimagining the design specifically for guitarists.
Featuring a double-contoured alder body and roasted maple neck, the StingRay II is designed for comfortable playability and unrestricted access to the upper frets. Dual humbuckers voiced for versatility deliver a full low end and punchy highs, offering a dynamic range of tones suited to a wide variety of playing styles. A 3-way toggle switch and dedicated volume and tone controls provide intuitive control over the guitar's sound.
A vintage-style tremolo and locking tuners, paired with the roasted maple neck, deliver an exceptionally smooth and stable playing experience. The result is a complete package built for clarity, versatility, and precision in every performance.
“I am known by a lot of people as somebody who plays a single-coil guitar. That’s a big part of my sound. But there was a lack of just a fatness in some of the things I wanted to play. So I was talking to the cats at Music Man about what kind of humbuckers they had, and they’re like, ‘Well, we’re talking about maybe doing the StingRay thing, so why don’t you just help us with the design process?’ I was telling them the things I was looking for sonically and visually, and the collaboration was born,” said Cory Wong.
“I have more to work with now. I have more colors to paint with. I really hope people are inspired to just pick this instrument up and make new music that they haven’t played before. Everything from hard rock, indie rock, alt rock to jazz and R&B.”
The StingRay II is priced at $749.99 and will be available at sterlingbymusicman.com and through dealers worldwide. For more information on Cory Wong, visit corywongmusic.com.
Flattley Pedals Introduces the “Reaper”
Sleaford, England – Flattley Pedals has introduced the “Reaper”, the company’s special 10th Anniversary Edition celebratory pedal.
In continuance of Flattley Guitar Pedals 10th anniversary year celebrations, the company has revisited its first ever production pedal “Reaper” created ten years ago but with a twist. The original Reaper product was an overdrive/distortion pedal with a rotary switch that could select variations in the components that were used in the feedback loop of an op amp to give a range of tones.
The Reaper Dual Mode Distortion Anniversary Edition pedal takes a different approach by having both hard and soft clipping around a similar op-amp core but voiced to be more aggressive than the original. The op-amp core is a bit of a nod to rodent related pedals that we have never explored before.
As well as the two clipping modes there is also a boost mode that removes both methods of clipping to give a mode that can push the amplifier preamp into saturation. The company warns that this can get very loud. The gain control has been chosen to be able to force the clean boost to clip as well when approaching maximum.
All of these modes are selected by a three-way toggle switch. This Anniversary Edition features vintage glass envelope germanium diodes for hard clipping, and asymmetric clipping using an LED and conventional silico diode to give a wider range of tones from this versatile pedal. Additional controls set the effect output volume, the overall gain and a tone control that can be used to tame the high end harmonics created by the various clipping modes.
The pedal’s purple halo light rings installed diffuse the light when playing live, so you can avoid being blinded by standard LEDs, and a purple laser etched aluminium foot topper gives you more real estate for contact when switching the pedal on and off during quick changes when playing live.
All Flattley "Platinum Range" pedals are hand processed in Flattley’s paint shop, with a strikingly unique finish.
The Reaper includes this control set:
Toggle Switch:
HC= Hard Clipping
BST=Boost Function
SC= Soft Clipping
Reaper Controls
- Volume: Controls the overall output level.
- Gain: Controls the amount of gain/overdrive
- Tone: Controls the amount of treble/bass
Other features include:
- 9-volt external power operation (no internal battery option)
- 20mm black anodised aluminium custom etched control knobs
- Purple halo light rings installed
- The Reaper comes with a purple custom etched aluminium foot topper
All Flattley pedals are handmade and hand wired in the UK using the highest quality components.
The Flattley Reaper carries a street price of $319/£259/€319. For more information visit flattleyguitarpedals.com.
Rig Rundown: The Barbarians of California
PG’s Chris Kies met up with the Barbarians of California at the Exit/In in Nashville, one show into a tour behind their second record, Megatons. Eric Stenman, Zach Irons, and Dave Amezcua walked through a setup shaped by fly dates, borrowed backline, and a band with no techs. Have a look at some quick highlights below, and tune into the new Rig Rundown for all the details.
Brought to you by D’Addario.
Good Hammer
Stenman calls the Les Paul the core of most of what he does, going back to seeing pictures of Jimmy Page holding one. This one has Slash pickups in it, and he’s honest about the tradeoff: they don’t stay in tune especially well, but they feel cool. The band lives between drop C and drop B-flat, which used to mean hauling four guitars to cover a main and a backup in each. With no budget and no techs on fly dates, they now keep everything in one tuning and pitch-shift between songs from their floorboards. Stenman’s strings are .012–.054; when he had a dedicated B-flat guitar he ran .014–.056.
Second String
His other guitar is an ESP LTD TED-600T Ted Aguilar signature, which he says plays better than the Les Paul—quicker and easier under the hand. Which one comes out depends on the week.
Valhalla Rising
Valhalla sent three heads out with the band for this run, two guitar and one bass, delivered to their Oklahoma date a few days earlier. Everyone’s still learning them. Stenman does his tone-shaping digitally, but says he still wants an amp onstage so he can feel the air and the tubes.
Double Helix
The Line 6 Helix is the brain of Stenman’s rig. He leans on a Rectifier model, switches to an ENGL setting for certain songs, and piles delay and reverb onto the leads—he traces the washed-out stuff to Britpop and shoegaze.
Whammy Wanted
Irons found this 1985 Carvin V220, Kahler and all, online during a Deftones tour and bought it sight unseen—being left-handed, he rarely gets to try anything first. He wanted a bar for dive bombs and Dimebag squeals, which he’d been approximating on a hardtail and hating. It’s never been set up and it works. The dip switches are coil taps, and the pickups are staying put.
Zach Irons’ Pedalboard
Irons found his Empress Heavy by typing “best heavy metal pedal” into a search bar and buying the first result; it’s the only distortion he’s used in this band, pushed by an MXR Micro Amp. A Boss XS-1 handles the drop tunings, while the wah is a Triangulo Lab WH-X clone of an Ibanez WH-10, sent to him by the Italian builder who makes John Frusciante’s replicas. An EHX Holy Grail covers reverb, and a Moog MF Delay gets used for between-song infinity washes. A Boss TU-2 keeps everything in tune, and a Voodoo Lab Pedal Power 2 Plus assures everything’s running.
Party P
Amezcua’s 1978 Fender Precision is completely unmodified and has been with him through Under the Influence of Giants, AWOLNATION, and now this band. Strings vary depending on who’s giving them away, though usually Ernie Ball.
What’s Left
Amezcua calls his board the one that could have been. A rained-out set at Shiprock took out a delay, an EHX pedal, and an octave, so he’s down to an Aguilar DI for tone and punch, a Strymon Zuma power supply, and a Boss TU-3 tuner — which he needs, since he’s the only one in the band tuning by hand between songs.
P-90, Filter'Tron, And Specialty Classics | Pickups Demystified Ep. 3
The humbucker-versus-single-coil debate has a blind spot. Technically, a P-90 is a single coil and a Filter'Tron is a humbucker, so both get filed away with the usual suspects. Plug one in and you'll hear why that shortcut doesn't hold up.
In the final episode of Pickups Demystified, Tom Butwin digs into the specialty pickups that share a family tree with the two big categories but took their own path. The P-90 uses a wider coil and bar magnets for a grittier midrange than any Strat-style single coil. The Filter'Tron cancels hum like a PAF, but its narrow bobbins and thicker magnet give it a brighter, tighter voice. Tom walks through the history behind each design and highlights modern takes, including a few that drop straight into a humbucker route.
Then come the outliers. The Charlie Christian blade pickup dates back to the 1930s and helped turn the electric guitar into a lead instrument. The wide-range humbucker was Fender's oversized answer to Gibson in the early seventies, designed by Seth Lover, the same engineer behind the PAF. If your tone lives somewhere the usual two can't reach, start here.
BH-90
The Brickhouse BH-90 delivers hum-free authentic single-coil clarity, power, and grit in a humbucker-sized package that drops right into your guitar. You'll get the aggressive bite and articulation of a classic P-90, with the clarity and top-end sparkle that cuts through any mix—all while staying perfectly quiet.
Hot Phat Cat Silencer P90 Set
The P90 sound was pivotal in rock, metal, and punk, but its noisy reputation has deterred many players, and swapping your humbuckers for P90s often meant major guitar surgery!
Enter the Hot Phat Cat Silencer! We’ve merged our humbucker-sized Phat Cat with our exclusive Hot P90 Silencer, offering an easy, noiseless solution for ripping P90 tone without compromise.
Nuevo 90 Bridge
Classic vintage P90 tone with all the fat lower mids, raw attack, and greasy goodness you’d expect, but with the tonal balance and enhanced response of the Railhammer design. Each pickup is optimized for either the bridge or neck position. Perfect for blues, classic rock, old-school punk, or any player looking for that vintage P90 vibe, but better.
Antiquity™ P90 Set
The Antiquity P90 soapbar uses two specially calibrated Alnico 2 bar magnets and a custom coil wind to deliver the gritty, vintage-correct growl of an early ’50s Les Paul bridge pickup. Chords have a warm but sparkly midrange grit, and single notes jump out nicely without sounding harsh.
TV Classic / TV Classic Plus
The pickup that started it all - the TV Classic captures that vintage twang and growl characteristic of the late 1950's Filter'Tron. Originally designed from an analyzed 1959 "Pat. Applied For" Filter'Tron, the TV Classic is our most popular and most versatile pickup. Popularized and played by many different artists ranging from John Mayer to Brian Setzer.
Psyclone™ Humbucker Filter’Tron Set
Whether for rockabilly, blues, country, or full-on rock and roll, the Filter’Tron pickup has long been the coolest tool for some of the coolest players. Now you can drop that twangy magic into any humbucker guitar with the Psyclone™ Humbucker Filter’Tron. Powered by double-thickness alnico V bar magnets, the Psyclone delivers vintage output for period-correct tones, with just a little extra muscle from the bridge position. Four-conductor lead wire provides plenty of wiring options and the choice of nickel or gold covers means Psyclone humbuckers will look perfect in any guitar.
Charlie Christian for Solidbody and B.S. Tele Bridge
Guitarist Charlie Christian was instrumental in advancing the use of electric guitars in the Swing and Bebop jazz eras, bringing guitar solos to the forefront of jazz music. The Gibson® ES-150 guitar used by Christian was equipped with what is now referred to as a “Charlie Christian pickup.” Our versions of these pickups pay homage to this pioneer of music, while faithfully recreating his distinctive tone. Our Charlie Christian pickups are a great choice for jazz guitarists, but these pickups are plenty versatile. And, they’re also great for pairing with other types of pickups for even more tonal variety.
Regal
Regal™ captures the original tone and wide frequency range of the ’72 Tele® Deluxe pickups—but with some noted improvements to the volume and tonal balance between the neck and bridge pickups. It has the same footprint as the original wide range pickups*. We offer a Low Wind version of our Regal™ neck pickup with a tight, percussive low end that pairs well with single coil bridge pickups. Rout dimensions: 3.125" x 1.75".
Seymour Duncan Unveils Duncan Distortion 50th Anniversary Set
Seymour Duncan has unveiled the Duncan Distortion Limited Edition 50th Anniversary Custom Shop Set.
Each set is built to exacting standards in the company’s custom shop by a small, elite team led by Maricela “MJ” Juarez. Limited to only 500 sets worldwide, all are built to original specifications and include replica “Seymourized” and model name stickers, just like the earliest builds that collectors have hunted for decades. Lightly aged for vintage character, each set arrives in exclusive 50th Anniversary packaging in your choice of black or zebra, with bottom plates hand-signed by Seymour and MJ.
Key features:
- Limited 50th Anniversary Custom Shop Set: a one-time run of only 500 sets, honoring one of Seymour Duncan's most aggressive and enduring designs
- Original high-output ceramic humbucker: large ceramic magnet and hot coil windings deliver tight, percussive lows, searing highs, and a cutting upper midrange
- True to original specs: built with butyrate bobbins, long-leg baseplates, and maple spacers, while staying faithful to the classic Duncan Distortion voice
- Paired with the Seymourizer II neck pickup (later renamed Duncan Distortion Neck): fluid sustain under gain, with articulate clean tones
- Hand-built by the company’s Custom Shop team: includes bottom plates hand-signed by Seymour W. Duncan and MJ
- Vintage-correct details: lightly aged for authentic character, and includes replica "Seymourized" and model stickers
- Exclusive 50th Anniversary packaging
- Available in either choice of black or zebra
The Duncan Distortion bridge pickup is Seymour's original high-output ceramic humbucker. Built with a large ceramic magnet and hot coil windings, it delivers tight, percussive lows, searing highs, and a powerful upper midrange that cuts through any mix. It retains clarity while driving amps harder, giving players the raw, immediate response that defined decades of rock and metal. The sonic formula of this set remains unchanged from the production models, and preserves the classic aggressive voice favored by legends like Randy Rhoads, George Lynch and Adam Jones. Paired with the hot Seymourizer II neck pickup (later renamed Duncan Distortion Neck) as the perfect complement, the set delivers fluid sustain under gain while maintaining articulate clean tones.
The core design of the Duncan Distortion was set when production began in the late '70s, and it hasn't changed since. Over the years, small adjustments were made to improve consistency and player flexibility, like bobbins better suited for vacuum wax potting. This exclusive 50th Anniversary Custom Shop version honors our history by returning to early specs including butyrate bobbins, long-leg baseplates, and maple spacers, while staying true to the classic Duncan Distortion tone.
The Duncan Distortion Limited Edition 50th Anniversary Custom Shop Set carries a street price of $375.00. For more information visit seymourduncan.com.
Gear Radar: October 2026
A handwired 20-watt combo built for touch and tone, a stopbar redesign that cuts restringing time by 75%, a battery-powered PA that fits in a backpack, and a low-profile head with pro-level punch.
Aileron - Low Profile Amplifier
Take the stage with a complete amplifier at your command—right in front of you. The Aileron features vacuum tube circuitry, an EL-84 power amp, parametric EQ, effects loop, and more. Handcrafted in the U.S., its rugged all-steel chassis is built to handle the rigors of the road, night after night, ready for every gig!
Homewrecker
The Homewrecker is a handwired 20-watt all-tube guitar amplifier built for exceptional touch sensitivity, harmonic richness, and dynamic response. From articulate cleans to rich overdrive, it delivers inspiring tone in a lightweight, gig-ready package.
EXM Pro6 and EXM Pro8 Battery Powered PA Speaker
Portable, battery-powered performance meets professional sound with a 3-channel mixer, integrated effects, Bluetooth®️ wireless stereo playback, USB charging, and versatile inputs for microphones, instruments, and line-level sources.
The Steadfast Stopbar
Steadfast Stopbar - We redesigned the stopbar to make string changes stress-free. CNC'd from billet aluminum, this patented, drop-in replacement cuts restringing time by 75%, increases tuning stability, and has zero impact to resale value. Available in Nickel, 24K Gold, black, and silver anodized finishes. Steady. Fast. Steadfast.
Royal Blood Reveal New Track “Swallow The Bomb”
Royal Blood released a new track “Swallow the Bomb” alongside an exclusive interview with Zane Lowe. This is the second track to be revealed from their highly anticipated new album Dead Company out November 13 via Warner Records.
The band made a welcome return last month with album news, a single “Ten Over Ten” and reveal and some rapturously received live shows. Fans were treated to three sold out underplay shows across the UK, including a surprise Reading Festival appearance. They also announced a run of UK shows kicking off in November and featuring special guests, Unpeople and Xcerts across various dates. Click Here for ticket and tour details.
Dead Company marks a powerful new chapter for the duo, who last released BACK TO THE WATER BELOW in 2023. Following a period away from the spotlight, Mike Kerr (vocals, bass guitar, keys) and Ben Thatcher (drums & percussion) entered the studio in 2025 with no deadline, no distractions and a simple ambition: to see what was possible with two people, 12 notes and infinite outcomes.
Self-produced by Royal Blood, they set out to make an album as raw, human and visceral as possible. Dead Company strips everything back to its core. Immediate and uncompromising, it captures Royal Blood at their most powerful. U.S. tour to be announced soon.
Mile End Effects Sofort, Si Fort Review
Mile End Effects does not do “subtle.” From art to enclosure to audio, Montreal builder Justin Cober’s pedals make big, bold statements. Even against a lineup of effect units that look and sound like Cold War-era machines of destruction, his latest creation, the Sofort, Si Fort, might just be the most devastating yet: a two-in-one design that combines a Sovtek Big Muff and Ampeg Scrambler elements.
Jolly Green Giant
Cober has demonstrated before that the visual aesthetic of his products is important enough that pedalboard-friendliness does not factor into his design decisions. Not surprisingly, this pedal is comparatively mammoth and beautiful. The giant, army-green slab is deliciously retro and Soviet, from its crisp screenprint art and font (handled by Tristan Lacombe, of Montreal psych-rockers Population II) to its chunky Pultec EQP-1-style knobs. (The Sofort, Si Fort continues the sharp orange/olive green color contrast introduced last year on Mile End’s Pique.) In a cultural moment obsessed with optimization at the expense of good ol’ fun, it’s heartening to behold a pedal that exists confidently on its own terms.
Each fuzz circuit has its own footswitch and controls. Section A is the green Russian Big Muff-style fuzz, with knobs for sustain (gain), level (volume), and filter (tone). A three-way switch just below the filter control toggles activates a mid-frequency bump. Paired with the filter knob, it unlocks drastically different EQ emphases that cover ground beyond simply making up for a Sovtek Big Muff's mid-scooped voice.
The B section is the Scrambler-style circuit, which is controlled with two knobs near the pedal’s bottom: blend and octave. Turned fully counterclockwise, octave allows just a hint of crispy harmonic content. At maximum, it shrieks and careens toward full ring-modulated madness. Blend lets you adjust exactly how much of that madness you want prickling the Muff circuit’s smooth-edged thundering. Each effect can be engaged independently. The only potential downside in the layout is that the chicken-head knobs for tone and level in the A section touch at certain settings. Just take care when you’re turning.
Immediately, and So Loudly
While two-in-one pedals are far from novel, the tones contained in these two circuits are so radically different that it’s almost perplexing to hear them emerge from the same pedal. The name Sofort, Si Fort combines German and French words meaning “immediately” and “so loud” and the pedal’s output is both of those things. As imposing as the Sofort, Si Fort’s physical stature is, it’s dwarfed by the enormousness and mass of its sounds.
Within seconds of plugging in and tweaking, I was conjuring Sunn O)))-worthy waves of low-mid bliss, and lively, whirling overtone chaos. The Green Sovtek Big Muff variant is celebrated for its bass presence, and Cober made sure that quality is preserved in the Muff-style circuit here. Engage the A section, and you’ve got a soft-edged, earth-shaking fuzz, with streaks of texture and graininess. The Scrambler-style section gouges and slashes at these massive low-end couch cushions. If you keep the octave low and the blend maxed out, the higher harmonic content will subtly scratch up your signal. As you crank the octave up, though, you'll eventually reach ring-mod meltdown. Utilizing your guitar volume knob at these settings is great fun, and uncovers all sorts of additional textures and tones.
I’m trying not to be too fawning here, but the combination of the smooth, enveloping Muff tones with the jagged yelp of the Scrambler is positively blissful. For me, it blows the RAT-into-Muff combo out of the water in terms of texture and harmonic possibility.
The Verdict
If you’re looking for low-end fuzz authority that never loses its fangs or clarity, and can reach more unusual highs, the Mile End Sofort, Si Fort is the ticket. There is a price to be paid for this much fun—it’s a very noisy pedal. But, like, duh? As we said, subtlety is not the goal here, and players who understand this will extract endless pleasures from the Sofort, Si Fort—which, at $213, feels like a steal.
Mile End Effects Sofort, Si Fort Review
Mile End Effects does not do “subtle.” From art to enclosure to audio, Montreal builder Justin Cober’s pedals make big, bold statements. Even against a lineup of effect units that look and sound like Cold War-era machines of destruction, his latest creation, the Sofort, Si Fort, might just be the most devastating yet: a two-in-one design that combines a Sovtek Big Muff and Ampeg Scrambler elements.
Jolly Green Giant
Cober has demonstrated before that the visual aesthetic of his products is important enough that pedalboard-friendliness does not factor into his design decisions. Not surprisingly, this pedal is comparatively mammoth and beautiful. The giant, army-green slab is deliciously retro and Soviet, from its crisp screenprint art and font (handled by Tristan Lacombe, of Montreal psych-rockers Population II) to its chunky Pultec EQP-1-style knobs. (The Sofort, Si Fort continues the sharp orange/olive green color contrast introduced last year on Mile End’s Pique.) In a cultural moment obsessed with optimization at the expense of good ol’ fun, it’s heartening to behold a pedal that exists confidently on its own terms.
Each fuzz circuit has its own footswitch and controls. Section A is the green Russian Big Muff-style fuzz, with knobs for sustain (gain), level (volume), and filter (tone). A three-way switch just below the filter control toggles activates a mid-frequency bump. Paired with the filter knob, it unlocks drastically different EQ emphases that cover ground beyond simply making up for a Sovtek Big Muff's mid-scooped voice.
The B section is the Scrambler-style circuit, which is controlled with two knobs near the pedal’s bottom: blend and octave. Turned fully counterclockwise, octave allows just a hint of crispy harmonic content. At maximum, it shrieks and careens toward full ring-modulated madness. Blend lets you adjust exactly how much of that madness you want prickling the Muff circuit’s smooth-edged thundering. Each effect can be engaged independently. The only potential downside in the layout is that the chicken-head knobs for tone and level in the A section touch at certain settings. Just take care when you’re turning.
Immediately, and So Loudly
While two-in-one pedals are far from novel, the tones contained in these two circuits are so radically different that it’s almost perplexing to hear them emerge from the same pedal. The name Sofort, Si Fort combines German and French words meaning “immediately” and “so loud” and the pedal’s output is both of those things. As imposing as the Sofort, Si Fort’s physical stature is, it’s dwarfed by the enormousness and mass of its sounds.
Within seconds of plugging in and tweaking, I was conjuring Sunn O)))-worthy waves of low-mid bliss, and lively, whirling overtone chaos. The Green Sovtek Big Muff variant is celebrated for its bass presence, and Cober made sure that quality is preserved in the Muff-style circuit here. Engage the A section, and you’ve got a soft-edged, earth-shaking fuzz, with streaks of texture and graininess. The Scrambler-style section gouges and slashes at these massive low-end couch cushions. If you keep the octave low and the blend maxed out, the higher harmonic content will subtly scratch up your signal. As you crank the octave up, though, you'll eventually reach ring-mod meltdown. Utilizing your guitar volume knob at these settings is great fun, and uncovers all sorts of additional textures and tones.
I’m trying not to be too fawning here, but the combination of the smooth, enveloping Muff tones with the jagged yelp of the Scrambler is positively blissful. For me, it blows the RAT-into-Muff combo out of the water in terms of texture and harmonic possibility.
The Verdict
If you’re looking for low-end fuzz authority that never loses its fangs or clarity, and can reach more unusual highs, the Mile End Sofort, Si Fort is the ticket. There is a price to be paid for this much fun—it’s a very noisy pedal. But, like, duh? As we said, subtlety is not the goal here, and players who understand this will extract endless pleasures from the Sofort, Si Fort—which, at $213, feels like a steal.
Joe Bonamassa and Sixthman Announce Lineup for Alaskan Cruise 2027
5x GRAMMY® Award-nominated guitar legend Joe Bonamassa and Sixthman, the leader in festivals and music cruises for more than 25 years, have announced a second northern edition of their world-famous blues-rock celebration, Keeping the Blues Alive at Sea Alaska II, sailing September 14-21, 2027, from Seattle, WA to Juneau, Skagway, Glacier Bay, and Victoria, BC, aboard the beautiful Norwegian Jade. Fans are urged to sign up for the presale now at www.bluesaliveatseaalaska.com to secure a cabin on this highly anticipated Alaska return.
Hosted and personally curated as always by the one and only Blues Titan himself, Joe Bonamassa, Keeping the Blues Alive at Sea Alaska II will present a celebration of music and community unlike any other, with powerful headline performances, exclusive collaborations, intimate jams, and unforgettable sets from some of the best in blues rock. The all-star lineup of artists includes Joe Bonamassa, Grace Potter, Larkin Poe, JJ Grey & Mofro, The Fabulous Thunderbirds, Ruthie Foster, Eric Gales, Jimmy Vivino, Robert Jon & The Wreck, Tommy Castro & The Painkillers, Danielle Nicole Band, D.K. Harrell and many more to be announced. In addition, the once-in-a-lifetime voyage will present an incomparable array of immersive activities and experiences, with autograph sessions, contests, and more.
Beyond the music, Keeping the Blues Alive at Sea Alaska II will sail through some of the region’s most iconic destinations, from the vibrant waterfronts and rich cultural attractions of Juneau, the Gold Rush history and mountain scenery of Skagway, and the awe-inspiring wonder of Glacier Bay National Park, with its towering glaciers, pristine wilderness, and abundant wildlife. The journey also includes a visit to the charming city of Victoria, BC, where picturesque harbor views, stunning gardens, and a vibrant culinary scene await. From breathtaking landscapes to watching whales from the deck amidst the unforgettable beauty of Alaska’s wild frontier, Keeping the Blues Alive at Sea Alaska II offers a new way to experience Alaska while reveling in the timeless power of live music and the camaraderie of the tight-knit blues community.
The Norwegian Jade will provide everything needed to make Keeping the Blues Alive at Sea Alaska II the most magnificent cruise adventure yet, with unique bars and lounges at every corner, a wide range of delicious specialty and complimentary dining options, the Pool Deck (with multiple hot tubs), the Jade Club Casino, Mandara Spa, Pulse Fitness Center, Basketball/Pickleball Courts, and so much more.
Keeping the Blues Alive at Sea Alaska II follows next year’s sold-out Keeping the Blues Alive at Sea XII, sailing March 15-19, 2027 from Miami, FL to Grand Cayman aboard the luxurious Norwegian Jewel. Though fully booked, Sixthman’s First Available Program releases staterooms in the months leading up to sailing that become available from cancellations or changes in operational needs every Friday. For more information, please visit www.bluesaliveatsea.com/firstavailable.
Keeping the Blues Alive at Sea Alaska II will once again proudly benefit the Keeping the Blues Alive® Foundation, Joe Bonamassa’s nonprofit dedicated to supporting music education by providing students, teachers, and musicians with essential resources and opportunities. While on board, guests will have the chance to take part in unique fundraising experiences, raffles featuring signed memorabilia, and other meaningful ways to support the foundation – all while enjoying the blues adventure of a lifetime. Founded by Bonamassa in 2011, Keeping the Blues Alive® Foundation (KTBA) is a 501(c)(3) non-profit organization with a mission to fuel a passion for music in younger generations by funding projects and scholarships to provide students and teachers the resources and tools needed to further music education.
Since its inception, KTBA has been able to fund music programs and initiatives that have impacted the lives of more than 147,000 students in all 50 states. KTBA accomplishes this by making weekly donations to music projects in schools, as well as funding merit-based scholarships and extracurricular programs all over the country. In 2020, KTBA took its mission a step further by forming the Fueling Musicians Program. This program was created as an emergency relief plan for touring musicians affected by the COVID-19 pandemic. By providing financial assistance for essential living expenses, the Fueling Musicians Program aims to help struggling musicians get back on the road again when it is safe. To date, the program has helped over 475musicians with immediate cash payments of $1,500. KTBA has made the Fueling Musicians Program a permanent part of the organization to help struggling musicians get on their feet and on the road. With donations of almost $3M in total from fundraisers, merchandise sales, and more, the Keeping the Blues Alive® Foundation has been able to help keep music education thriving. For more information, please visit keepingthebluesalive.org.