General Interest

Positive Grid is hosting its 2025 Back to School sale, and there’s a number of excellent deals to be taken advantage of on a number of the brand’s Spark products. Cure the back to school blues right now by treating yourself to a new piece of guitar gear. It’s a proven antidote, trust me.

Discounted for a limited time only are the Spark 2, Spark MINI, Spark MINI VAI, Spark GO, Spark Edge and Spark LIVE.

• READ MORE: DigiTech HammerOn review – will this ‘instantaneous pitch shifter’ hit the nail on the head for enhanced creative playing?

First up, the Spark 2 – PG’s 50W Smart Practice Amp – has had $30 shaved off its price tag, meaning you can get it for just $269.99 right now. With a built-in looper, intuitive AI-powered features and an advanced speaker system, few practice amps on the market right now hit the mark quite like the Spark 2. In our review last year, we gave the Spark 2 a shining 9/10 review.

Next, the Spark MINI and Spark MINI Vai variant – designed, of course, in collaboration with legendary guitar virtuoso Steve Vai – are now priced at $205 and $225, down from $229 and $249, respectively. The Spark MINI is about as compact as practice amps come, but it’s still decked out with awesome features, including Bluetooth, smart app integration and a massive sound which belies its little form factor.

If you’re looking to barely make a dent in your budget, why not go for the Spark GO, Positive Grid’s ultra-portable – and ultra-affordable smart guitar amp and Bluetooth speaker. Boasting room-filling sound with advanced acoustics powered by computational audio, the Spark GO is now priced at just $116 down from $129. Get yours now…

After something a bit beefier? The Spark Edge – a four-channel smart amp and PA system – is now just $405 down from $449. This baby delivers 65 watts of dynamic sound in a sleek and still portable design, with dual XLR ¼” combo inputs, optional battery power and a built in looper.

We gave the Spark Edge 10/10 in our review earlier this year, so when we recommend this one, we mean it.

And finally, Positive Grid’s Spark LIVE is also discounted – at just $499 down from $549. Powered by Sonic IQ Computational Audio, the Spark LIVE is a four-channel smart amp and PA system packed with amp emulations, effects and even a mixer. Get yours for a limited time at a cool $50 off.

You can browse the full Back to School promo sale via the link below:

[deals ids=”3yplkWUIbggaEbsVhikkPL”]

And you can learn more about Positive Grid via the brand’s official website.

The post We gave the Spark 2 9/10 in our review – and it’s on sale now in Positive Grid’s Back to School promo appeared first on Guitar.com | All Things Guitar.

Earlier this month, one of the biggest reunions in British music history took place as the Gallagher brothers returned to the stage as Oasis for the first time since 2009.

With ticket prices soaring into the thousands, you bet fans were watching everything, from the band’s setlist to Liam’s wardrobe, and of course, Noel’s gear.

Among the familiar arsenal, one black Gibson Les Paul with P-90s quickly caught the attention of eagled-eyed gearheads. Now, the story behind the mystery guitar has been revealed in a new interview with Lee Bartram, Head of Commercial, Marketing & Cultural Influence at Gibson EMEA.

• READ MORE: “Should anybody be remotely interested”: Noel Gallagher reveals his Oasis reunion tour pedalboard in classic nonchalant fashion – and yes, Noel, we are interested

Explaining how Noel’s custom new axe came, the executive says that while the Les Paul made its live debut on a massive stage, it wasn’t designed specifically for Oasis’ reunion. At least, not initially.

“We have been working on this guitar for at least 18 months,” Bartram says. “It really came from a conversation around creating a Les Paul that would accommodate P-90s (which Noel was playing a lot with NGHFB at the time, favouring Epiphone USA Casinos) at high volumes, without compromising on the sound and tone of the pickup.”

“Aesthetically, Noel had an idea of what he wanted it to look like, and we tried out a few hardware, finish, and color options before landing where we did.”

The executive also admits he had no idea what the guitar would be used for during the initial design stage. “But, as development continued, it was important to create a guitar that would give different sonic layers to a lineup of three guitarists playing to stadium-level attendances. The guitar needed to be loud and capture the vibe of those earlier shows, without compromising the output and tone of the pickups.”

The result? A hybrid based on a 1960 Les Paul Standard, loaded with Gibson Custom P-90s (instead of the original humbuckers), a SlimTaper neck, Grover tuners, and an Ebony finish – Light Aged via the Murphy Lab in Nashville to Noel’s personal specs.

“Everything we build for Noel starts out as Light Aging, and he will then decide after playing it if he wants to add more aging or keep it as it is,” Bartram explains. “In this case, he wanted more on the body, neck, and back, which looks great on stage.”

While the guitar is custom in appearance, the older Gallagher kept things classic in tone.

“The pickups are Gibson Custom P-90s as stock. Noel wanted to capture a very traditional P-90 sound with these, so there is no additional wiring.”

“Noel has a great understanding of what he wants from a pickup and gives relevant feedback,” Bartram says. “He knows that Gibson invented the P-90, and we didn’t want to mess with a winning formula. Having aged nickel covers on the pickups is relatively unique, however, and something the Gibson Custom Shop spent a lot of time getting right. The results look great and the pickups sound amazing at volume… mission accomplished!”

The post “I had no idea what the guitar was intended to be used for”: The inside story on Noel Gallagher’s Oasis reunion Les Paul appeared first on Guitar.com | All Things Guitar.

How prevalent are fake online guitar stores pretending to be your favourite retailers? As it turns out, prevalent enough to be costing ordinary people thousands, as guitar player Daren Maas recently found out for himself.

Maas was the target of a phishing scam, in which fraudsters created a website that looked like Guitar Center‘s online store, and lured him into buying what he thought was a cut-price Gibson Les Paul.

• READ MORE: Is rock dead? No – and Live Nation has the numbers to prove it
  

For those unaware, phishing is the fraudulent practice of deceiving people into giving away their personal details, like passwords, personal information or credit card details. And according to Better Business Bureau (BBB), this year it could be on the rise.

In the case of Daren Maas, when he saw a Facebook ad – seemingly from Guitar Center – advertising a Gibson Les Paul for just $1,231.56, he was quickly lured in. Let’s face it, at that price we’d all have a look.

As Maas explains to News 6 Orlando, he believed it was a “great price”, and didn’t think it too suspect as it was also a “sale price”. He proceeded to go “through the order process” and placed what he thought was a legitimate order.

Shortly after, though, he received an email confirming his money had gone to someone called Shane Griffin, not Guitar Center. Maas says this was the moment he realised he had been tricked.

He later examined the URL of the site he’d been taken to, which read: “guitarcenter-us.com”, not the legitimate one, which is “guitarcenter.com”.

“I’m sure I’m not the only one that they got, they scammed,” Maas says. “They’re hunting people like this and it’s sad.”

At present, Maas is disputing the charge with his credit card company. “It’s a very bad position to be in and you feel very vulnerable,” he says.

Thankfully, as phishing scams like this have been around for a long time, experts have become savvy in how to avoid them.

As Holly Salmons, CEO of the Better Business Bureau, explains, customers should avoid clicking on ads that show up on social media feeds. “Go, yourself, directly to the business and then look for the product that you’re trying to search for. Those direct links could be what get you in trouble,” she says.

It’s also worth noting that social media ads are relatively inexpensive to run, especially if targeting a small subset of the population which is more likely to fall victim to a phishing scam, like older, less tech-savvy people, for example. If a scammer spends £20 on Facebook ads targeting people over the age of 60, they could reach hundreds of potential victims, and if just one makes a purchase – like $1,231, in the case of this Guitar Center scam, that’s a very high ROI for the scammer.

Put simply, if you see what looks like a good deal in a social media advert, open another tab in your browser and search for the deal yourself. If it doesn’t show up obviously and straight away on the purported retailer’s website, don’t go any further.

Additionally, you should watch out for unusually low prices. We’re all lured in by good deals – that’s how they work – but if it’s significantly less than the same or similar products offered on other retailer websites, chances are it’s too good to be true.

And finally, be sure to look out for subtle visual hints on any webpage you visit which could suggest it’s fake, like misspellings, or strange formatting that doesn’t look familiar.

The post “I saw the price, thought it was a great deal”: Scammers are targeting Guitar Center customers – here’s how not to get caught out appeared first on Guitar.com | All Things Guitar.

The guitar industry is in constant motion, with boutique trends, YouTube-fueled fads and viral tone-chasing shaping the market year by year. But while player tastes evolve, some instruments stay locked in time.

As Fender Senior Master Builder Paul Waller reveals, there are just certain guitars that “always get built”. Speaking in the latest issue of Guitarist, Waller lifts the curtain on what’s changed behind the scenes at Fender’s Custom Shop – and what hasn’t and probably never will.

• READ MORE: Fender Acoustasonic Standard Jazzmaster review: “this is a wonderful all-round gigging machine”

“The ones that always get built are the blonde Teles, the black Strats, sunbursts,” he says. “We make those in the same quantities no matter what is in fashion.”

Meanwhile, the ears of those who play those six-strings have been getting sharper.

“The thing that has evolved,” he adds, “is the players. They have a more discerning taste and can hear a lot more of what we’re throwing [into the design of the guitars] in terms of pickups and tonewoods, specifically [through the use of] the roasted maple and alder, and ash bodies.”

“Those that are in the know and seeking out that tone can find it through some of those avenues. It can be a trend that might fall off, or it might stay in – but we’re a made-to-order shop, so we just make what people are ordering.”

And given how quickly trend cycles change, staying ahead of the curve means listening as much as building: “The trends – and staying in front of them and making sure that we have good communication with our dealers – are a big part of what we do,” says Waller.

“I always tell people I’m kind of living two years in the past because a lot of my orders are two years old. So it’s nice to have events where I can talk to dealers and see what’s currently the hot trend.”

That said, beneath all the tweaks, requests and evolving preferences, Waller believes that the soul of a Fender electric still lives in one very specific place: the pickup.

“Pickups have always been a big thing for me because I think the heart and soul of a Fender is the pickup itself,” Waller says. “I think everyone’s aware that we’re the biggest electric guitar manufacturer on the planet. And I say, ‘Well, that also makes us the biggest pickup manufacturer on the planet, and we make a pretty good one.’”

“We’ve been doing it a long time, and there are generations of people who have been working in the factory since the ‘50s and ‘60s that are still doing it.”

“To me, that’s super important; that’s the quality ingredient that goes into it,” the builder continues. “I draw a lot of inspiration from the hot-rod world, where you want to make it look like it’s an old part, or make it look like it existed back in the day but modernise it.”

The post Players have “evolved”, but some guitars “always get built” – Fender master builder Paul Waller reveals the timeless builds that never stop rolling off the line appeared first on Guitar.com | All Things Guitar.

Old Blood Noise Endeavors (OBNE), the makers of the cult-favourite Dweller phase repeater, have returned with Bathing, a “Liminal Delay” pedal that’s anything but ordinary.

Described as “perhaps a reverb, or a phaser, or a classic delay, but never exactly any one of these things”, Bathing brings you a style of effect unique to the Old Blood lineup.

• READ MORE: A guide to the best Big Muff-style pedals, from classic reissues to boutique oddities

The pedal draws inspiration from the “phase repetition” found in Dweller, taking this difficult-to-describe effect and highlighting all its magical features through a wide control set, low noise floor and an expansive stereo field.

You pick the overall delay time, the number of all-pass filter stages it runs through to get there (from 2 to 12), and how you want to modulate the character of those stages. Fewer stages create tight, flanged tones while longer times and more stages generate cascading repeats both before and after the central delay.

There’s also a Feedback control for you to feed the delay output back into the input (which creates longer trails and increased resonance), a Filter to darken or brighten the character of the delay, and a powerful LFO section that shifts the character of the delay repeats depending on your time setting.

When Time is very short, the LFO acts like a modulation effect (think phaser or flanger sounds). When Time is set longer, it moves anywhere from a single repeat at the central delay time out, to a scattering of many diffused repeats around that time. In Mono-in, Stereo-out or full Stereo modes, the LFO is offset across the left and right channels to create a variety of stereo effects.

Beyond all that, Bathing is also built for serious pedalboard integration. It features Stereo I/O with analogue dry-through, presets, MIDI control over everything including MIDI clock sync, and expression control over every knob.

Priced at $299, the pedal comes shipped in three dreamy colourways – Algae, Orchid, and Ink.

Dive into the Bathing and all its magic below.

Learn more at Old Blood Noise.

The post Think you don’t need another delay pedal? Old Blood Noise Endeavours’ trippy new “Liminal Delay” Bathing might change your mind appeared first on Guitar.com | All Things Guitar.

The next time someone says “rock is dead”, ask them to explain the 14% surge in heavy rock shows this year, or why Metallica is still outselling most popstars in stadiums across the globe.

The “rock is dead” chorus is far from abating, but new stats from Live Nation suggest the reality on the ground – and in the pits – tell a very different story: Heavy rock and metal aren’t just alive, they’re thriving.

• READ MORE: Halestorm pick their five most underrated rock and metal bands

In a new Instagram post, Live Nation declared that “heavy rock and metal are bigger than ever in live music” and they’ve got the receipts to back it up.

According to the live music giant, heavy rock shows are up 14% this year, while metal now accounts for 13% of all stadium and arena shows.

Bands like Bring Me The Horizon, Bad Omens, Pierce The Veil, Sleep Token, Ghost and Turnstile are leading the charge, “blowing up in streams, tickets sales and fans snapping up arena tickets”.

Legacy acts like Korn, Deftones, Linkin Park, Evanescence and Iron Maiden continue to ‘anchor festival line ups’, while System Of a Down have added stadium dates, “after instant sellouts in New Jersey, Chicago and Toronto.” Metallica, on the other hand, continues to “dominate global stadium touring”.

Even in the festival circuit, the scene is expanding.

Live Nation notes that metal festivals such as Rockville, Aftershock and Inkarceration are “bigger every year”, “fuelled by diverse line ups catering to even more fans.”

And 5 July marked what may be the genre’s most emotional moment in recent memory – Black Sabbath legend Ozzy Osbourne’s final public farewell at Birmingham’s Villa Park.

“Ozzy Osbourne – The Prince of Darkness – didn’t just front Black Sabbath,” Live Nation writes. “He changed music forever. His legacy will live on in every riff.”

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Earlier this year, Twisted Sister guitarist Jay Jay French claimed that the lack of young rockstars is a clear sign that the genre has lost its grip on the mainstream.

“The body of what we constitute as the standard rock act… is by and large, over,” French said.

He explained that while rock bands still exist, their impact on mainstream culture has waned significantly: “The collective psyche that dictates current music trends and sociological impact of music, it’s not showing up in the rock world in terms of mass acceptance”.

The post Is rock dead? No – and Live Nation has the numbers to prove it appeared first on Guitar.com | All Things Guitar.

£219/$299, digitech.com

Manuals are for losers – no offence, manual writers – but even so, it’s worth having a quick squizz at page two of the little booklet that comes with the DigiTech HammerOn. It won’t show you how to play like Eddie Van Halen, but it will give some insight into the thinking behind this multi-mode pitch-manipulating pedal – and the wider Whammy range.

• READ MORE: DigiTech MonoNeon Whammy review: “This is the most innovative Whammy since the original”

“These are guitar effects that you ‘play’, not just turn on and off,” says the blurb, and that really is the key: this device can replicate the effect of hammering on, at humanly impossible note intervals if desired, and can also work as a looping five-note sequencer as well as covering standard up and down pitch shifting… but it isn’t a question of stomping on a switch then standing back to enjoy the show: your hands and feet will have to do some of the work.

DigiTech HammerOn – what is it?

You don’t need to be a grandstanding widdle wizard to understand the concept of hammering on – it just means using your fretting fingers to add notes between picking strokes. So that’s the main selling point of this pedal: select your desired interval, anywhere on the scale from an octave down to an octave up (or indeed a wacky two-octave leap), then use the left footswitch as your hammering ‘finger’ to jump there. You can also engage the trill button to move back and forth between your two notes automatically at a set speed of your choosing.

But that’s just the start. You noticed there are two footswitches, right? Well, you can use the other one to jump to another interval, allowing for three-note masterpieces that are limited only by the rotational dexterity of your ankle. And if you like things a little more harmonious? Press the ‘dry+’ button and your original note will be blended in with the new one(s).

The promisingly named ‘impossible mode’ takes things up another notch by letting you jump to two different notes in turn using the same footswitch, which is basically like hammering on with two fingers instead of one; and that just leaves the three sequence modes. These carry that idea further into the weirdosphere by allowing you to choose two, three or even five notes to run through in sequence. With the trill function selected, this pattern will repeat at your chosen speed; otherwise you move through it one note at a time with each press of the right footswitch.

DigiTech HammerOn – usability

There’s a learning curve for sure, but it doesn’t take long to power through the head-scratching phase with this pedal. The mode button is key, as each press moves you on to the next effect – assisted by colour-coded LEDs that come in very handy.

The only other thing to get your dopey brain around is how to set intervals – this involves holding down the relevant footswitch while you turn the top-right knob. Bit of a chore if you’re in five-note sequence mode, as you have to set each one individually, but this time it’s the red LEDs at the top that are your best friends.

One thing you can’t do with the HammerOn is choose a key and ask it to track melodies accordingly, as you can with something like the Boss PS-6 Harmonist or Electro-Harmonix Intelligent Harmony Machine. Here the intervals are fixed – so bear that in mind before you launch into an elaborate melodic progression with a minor third slapped over everything, because it’ll almost certainly sound pigging awful… and nobody’s going to buy “It wasn’t me, it was the pedal” as an excuse.

DigiTech HammerOn – sounds

You’re going to want some gain. No, this isn’t all about faux-shredding, but a Marshall-esque combination of bite, thickness and sustain will help to make all of the pitch changes sound crisp, strong and natural. It just makes more sense that way.

And yes, it really can sound natural, albeit not exactly the same as what happens when you whack the fretboard with your fingertips. It’s best to start with simple one-note jumps, but you’ll soon be getting carried away with multiples, and might even find that the HammerOn helps you to come up with a new melody or two. You’re not restricted to single notes either: it works just as well with two-string riffs, and can be used (just like a standard Whammy) to drop power chords down into the doomy baritone register. It tracks tightly, with no obvious latency.

All of this is highly entertaining, but it’s very much the case that what comes out is only as good as what you put in, and it can be difficult to keep playing in time with a fast trill or sequence… which makes it all the more tempting to add some delay, embrace the chaos of multiplied sloppiness and tell everyone you’re creating a challenging soundscape. Sometimes it might even be true.

DigiTech HammerOn – should I buy one?

If you’re hoping for a cheat code – a way to sound like EVH without the need to learn any actual technique – then I’m sorry to say the HammerOn is not going to save you from your own shortcomings. In the same way that a classic Whammy does things you’d never even try to do with a physical vibrato arm, this is all about expanding your playing palette into new and perhaps unexpected areas.

In that sense, it might actually prove more useful to experimental art-rockers than it is to technical metallers. But be warned: if you’re neither of those things, you’ll probably find it more than slightly gimmicky.

DigiTech HammerOn – alternatives

The standard DigiTech Whammy (£199) remains the pitch-mangling pedal to beat, though the Electro-Harmonix Pitch Fork (£169) is a pretty solid alternative for the simple stuff. For the not so simple stuff, you might be tempted by the soundscaping extremities of the Red Panda Tensor (£349) or – if you can find one second-hand – the fluttering arpeggios of the discontinued EarthQuaker Devices Arpanoid (£N/A).

The post DigiTech HammerOn review – will this ‘instantaneous pitch shifter’ hit the nail on the head for enhanced creative playing? appeared first on Guitar.com | All Things Guitar.

Limited to only 100 pieces, Badlands Guitar Company announces the release of its USA made GX1-PRO, available August 1 direct from the factory or at select retailers.

Purpose-built for players who came of age in the golden era of 1980s rock and metal, the GX1-PRO channels the high-octane spirit of that decade with custom-shop precision and modern performance refinements. Built exclusively in Maryland and available in either right or left-handed configurations, these arena rocking instruments fuse aggressive styling with hand-selected components for players seeking tone, playability, and attitude in equal measure.

The GX1-PRO features an alder body and a three-piece, quarter sawn maple neck-thru design, reinforced with carbon fiber rods and a dual-action truss rod to ensure exceptional sustain and resonance. The Custom series offers hand-painted finishes including Mystic Blue HotRod, Inferno Red HotRod, Sunset Bengal, and Retro Bengal. Available in the Classic series are solid finishes including Midnight Blue, Arrest Me Red, Taxi Yellow, and White Wedding Pearl. All finishes are polyurethane and an unmistakable homage to the high-octane visual style of the 80s. The 25.5” scale, ebony fretboard is loaded with 24 Jescar nickel silver frets and shaped with a compound radius of 12”-16”. Finished in matching paint, the ‘80’s select neck profile and 1 11/16” nut width provides comfort and easier playability. A tilt back headstock and Sperzel locking tuners improve sustain and tuning stability while Badlands Guitar Company's signature mother of pearl "Railroad Spikes" inlays and white binding add a touch of classic elegance.

Just like any hot rod, custom paint is only half of the equation. What is under the hood is always what matters most. The GX1-PRO is engineered for powerful, versatile tones. Loaded with an H/S/S configuration, the custom-designed, handwound BGC M89 ceramic humbucker in the bridge position meticulously delivers an aggressive growl reminiscent of the era's most iconic high-performance pickups. This is perfectly complemented by two specially voiced BGC M81 single coils. The control layout features a trio of mini toggle switches, offering a wide array of tonal shaping options, consistent with classic 80s setups. A newly developed BGC1200M Midboost circuit, a first for Badlands Guitar Company, further expands the guitar's sonic palette, allowing players to dial in a diverse range of sounds from searing leads to articulate rhythm tones. The USA Floyd Rose bridge, locking nut, metal knurled knobs, and football jack cover are all appropriately finished in black.

Each GX1-PRO arrives set up with SIT Strings and ships with a premium embroidered Badlands G&G case, ensuring secure transport and protection. Case candy includes a Certificate of Authenticity, QC card, VIP Backstage Pass lanyard, pin and sticker set, a Dunlop System 65™ Multi-tool, and a limited edition framed poster uniquely matching the very guitar ordered.

For more information, please visit www.badlandsguitarcompany.com.

Street Price:

GX1-PRO Custom HSS $3499.00 USD

GX1-PRO Classic HSS $2999.00 USD

Tech 21’s original Killer Wail was an under-the-radar wah that gathered a great reputation among those in the know. After a complete redesign, Tech 21 released the Killer Wail v2, as well as two other wahs—the Richie Kotzen Signature wah and the Killer Blue Wail (for bassists). These are a significant departure from the original Killer Wail.

Machined from solid billet aluminum, the Killer Wail v2 is sturdy yet light. In fact, my Cry Baby weighs more than twice as much. It’s sleek—almost aerodynamic if such things were a consideration for wah pedals—with little of the bulk associated with conventional wahs. With its compact footprint and top-mounted jacks it’s also pedalboard friendly, a claim few wahs can make. It can also be operated via a 9V battery or DC power supply.

A Wah for Modern Times

A nice vintage wah exudes, well, mojo. That’s the nature of the effect, and a fact we can probably all agree on. But the mechanics of most wah designs come with downsides. The majority of wahs (vintage and modern) employ pots that tend to get noisy and scratchy, and if used heavily will ultimately need replacement. The Killer Wail v2 eliminates these issues by using a light sensor instead of wah pots. Theoretically, the light sensor will almost never wear out. This isn’t a new solution—Morley’s beastly chrome wahs from the 1970s famously employ optical sensors, and continue to do so. But they are a very practical—and quiet—alternative to conventional filter pots that tend to act like dust magnets.

Tech 21 also equips the wah with a silent buffered bypass switch positioned at the top left corner. A blue light beneath the button glows red when the pedal is engaged. According to Tech 21, the actuator is rated for a million uses, so durability shouldn’t be a concern.

The Killer Wail v2’s proprietary filter delivers a distinct feel. As expected, toe-down boosts the highs—but even without distortion, your tone stays rich and warm while still slicing through a band mix. Add a drive pedal after the wah, and that tonal character pays big dividends, yielding biting, aggressive, and warm tonalities that are ideal for screaming solos.

Heel-down, the pedal boosts the low end, creating a softened attack that lends sustained chords an almost Fender Rhodes-like feel. Engaging a drive pedal brought out creamy, vocal-like lead tones. Placing gain pedals before the wah allowed for slightly glitchy, synth-like sounds on single-note lines, in addition to more conventional percussive wah textures.

The Killer Wail v2 may not be the most budget-friendly wah out there, but its combination of long-term durability, expressive tone, and smooth, natural sweeps makes it feel like a solid investment—from heel to toe.

A fierce and flexible Gated Fuzz for modern players.

Berserker Electronics, creators of the Prehistoric Dog preamp and Aquanaut delay, has announced the release of their latest sonic weapon: Velcrow – a raw, percussive gated fuzz pedal designed for players who crave filthy textures with tight control.

Inspired by the beloved and discontinued Way Huge Conquistador, the Velcrow takes that sputtery, aggressive sound and pushes it further – offering more dynamic range, more usable tones, and a sharper, more responsive gate. Velcrow is built to deliver snarling fuzz with a snappy gate, thriving on punchy riffs, abrupt cutoffs, and glitchy sustain.

Despite its intensity Velcrow is also intuitive to dial in, with carefully tuned controls that let you shape your attack and decay without ever sounding flabby or buried.

Key features include:

• Inspired by the Way Huge Conquistador, but with expanded range and control

• Tightly gated fuzz with sharp attack and fast decay
• Simple, intuitive controls in a pedalboard-friendly enclosure