General Interest

Summer School Electronics Middle School Chorus is a modern take on an 80’s classic.

The Middle School Chorus is a unique dive into modulation that saves pedalboard space and opens a world of sonic options. It combines both a chorus and vibrato effect into one stompbox, allowing the effects to be changed with the tap of a foot. This pedal has a wide range of modulation, from classic 80’s chorus-tones to wet, modern guitar sounds. When the blue light is on, the pedal is in Chorus-mode and can be adjusted by the Chorus Rate and Depth knobs. When the green light is on, the clean signal is omitted and the pedal is in Vibrato-mode and can be adjusted by the Vibrato Rate and Depth knobs.

Each pedal offers the following features:

• Separate Chorus and Vibrato Rate controls with a shared Depth control

• Footswitchable Chorus/Vibrato feature

• Hand Built in Syracuse, NY

• Lifetime Warranty

• 9-volt operation and standard DC input

The Middle School Chorus is available at Summer School Electronics dealers, at a street price of $199.99 as well as online at summerschoolelectronics.com.

I recently watched a documentary on Nashville’s songwriting culture called It All Begins with a Song, and while it was an occasionally insightful and touching look at the tunesmithing industry, it omitted an important part of Music City’s creative community: the writers who fly under the mainstream's radar, and yet craft equally—if not more—satisfying numbers that hit deep emotional notes and tell profound human stories.

I get it. More viewers would like to watch how the songs they’ve heard were built than songs performed by artists who’ve not, for a lack of luck, financial support, or other business machinations, reached their ears. And yet, I felt the film missed an opportunity to enlighten people to a different kind of Nashville songwriter—a breed of artist less slick in, perhaps, the writing of Top 40 hooks, but sometimes more attuned to the rawness and complexity of real human experience. Writers who have the ability to capture humor, sadness, and life without flounced dressing. I’m thinking of artists like Buddy Miller, Kevin Gordon, Jon Byrd, Tim Carroll, and even Emmylou Harris—the latter a cross-generational bridge with the ability to create a beautiful latticework of words and music with her lyrical skill and unmistakable voice. (Note: Listen to Gordon’s “Colfax,” for example, and you’ll enjoy one of the most complex-yet-accessible stories about adolescence, small-town America, and race put to song.)

My point is this: When it comes to every aspect of the music you love, try to dig deeper. If you love guitar, and I know you do, don’t stop with Jeff Beck, Carlos Santana, Josh Homme, or Jack White. Find out about the outliers like Sonny Sharrock and Yvette Young and Stan Lassiter, or, if you dig blues, Junior Kimbrough. They are all uniquely and brilliantly themselves. And Tom Waits is the rare example of an outsider songwriter who has penetrated the mainstream, and a damn fine one.

“There are great artists flying just under the widescreen radar everywhere that music is played and stories are told.”

I’ve chased artists like this, and the songs and sounds they make, for my adult life. If I had to blame it on anyone, it would be Johnny Cash, whose unadorned music and poetry, punctuated with surprising vocal approximations of train whistles and shouts of “sooey,” spun my head around and opened my ears to the world when I was a child. (Cash was, perhaps, the ultimate outsider insider.) And because of this pursuit, and my decision to become a music journalist as well as a player, I’ve been able to speak with and even be befriended by quite a few of them. Their stories, whether in words or sounds, have profoundly shaped my perspective, character, and creativity. They influenced me to become and remain a storyteller, one way or another. Heck, some, and especially the late Mighty Sam McClain, the greatest soul singer you’ve probably never heard, even became my chosen family. In Sam’s case, a second and better father, whose voice echoed between the Earth and the stars. (Listen to his interpretation of Carlene Carter’s “Too Proud” for a jolt of scarred honesty, then explore his catalog.) The same with R.L. Burnside, who shaped my thinking as a guitarist and a human in ways I’d not realized until they were ingrained.

There are great artists flying just under the widescreen radar everywhere that music is played and stories are told. It just takes a little more effort to seek them out. Chances are, if you choose to speak with one of them after a performance or even through social media, you might make a connection. It could be a one-off exchange or it could be a new friendship, because life has a way of taking you down unforeseen roads if you are willing to take the first step onto them.

You might even be one of these artists yourself. If you are, you have my respect for striving forward, in search of the essence, the expression that helps the world fall into place for you and those for whom you record and perform. You may be underacknowledged but you are doing essential work. And you understand that it truly can begin with a song or a sound.

Paying tribute to Ozzy Osbourne – who died earlier this week at the age of 76 – Slash guitarist Frank Sidoris has shared a rejection letter he received when auditioning to be Ozzy’s guitarist in 2017.

Back in 2017, Black Sabbath’s The End reunion tour was just finishing up, and Ozzy felt inspired to hit the road solo. This involved searching for a new guitarist, and as Sidoris recalls in a now-expired Instagram Story: “I was invited to Ozzy’s home to perform two songs for him to audition for his band”. The audition, it turned out, was rather up close and personal.

• READ MORE: “They say never meet your idols, but that’s just not true. Sometimes you get lucky”: M. Shadows reflects on interviewing Ozzy Osbourne in 2017
  

“We loaded my amp, guitar, et cetera, into his movie theatre, and I played Mama, I’m Coming Home and Diary of a Madman while he sat about 10 feet away from a very loud amp – at his request.

“He sang every word over me, playing at concert volume, which was comforting and hilarious, as it was just him and I in the room with his assistant.”

Ultimately, Sidoris didn’t get the job – that went to Ozzy’s tried and tested guitarist Zakk Wylde, who had played alongside the Prince of Darkness for years.

Perhaps feeling guilty about his decision, Ozzy wrote Sidoris a rejection letter.

“Frank, I wanted to thank you for coming by to play for me and taking the time to learn my songs,” the letter read. “You are a talented musician, and it’s obvious to me why you’ve already had success in this business at a young age.

“I’ve decided to work with Zakk Wylde, writing and recording my next studio album as well as playing guitar on my upcoming tour dates this summer. Zakk has been with me a long time, and I know that having him play with me is something my fans really want to see.

“I wish you continued success. God Bless, Ozzy.”

The letter was signed by Ozzy and featured a cartoon of him carrying a large cross that reads “OZZY” in the bottom righthand corner.

Now, Sidoris reflects on how he felt at the rejection, and at receiving the letter from Ozzy.

“It further proves he was truly everything you would hope for as a person,” Sidoris says. About the intimate audition itself, he adds: “It was an honour to be in his welcoming presence and feel his genuine warmth as a person.”

The post “It’s obvious to me why you’ve already had success”: Frank Sidoris shares heartwarming rejection letter he received from Ozzy Osbourne after auditioning to be his solo guitarist appeared first on Guitar.com | All Things Guitar.



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It’s the 151st episode of the Truth About Vintage Amps!

Thanks, as always, for being a part of the world’s finest call-in tube amp repair show.

Want amp tech Skip Simmons’ advice on your DIY guitar amp projects? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too.

Some of the topics discussed this week: 

1:03:05 What’s on Skip’s bench: A pile of Standel amps; Vacaville’s Pacific Hardware (redux); a baffler of sorts

8:28 Tom Gunterman (Instagram); Kevin from Ohio; Joe Walsh

11:30 Our sponsors: Grez Guitars; Emerald City Guitars and Amplified Parts! Marshall Capris; Christopher Guest

19:07 Julian Lage and Leo Kottke (tour dates here)

22:45 The Fretboard Summit August 21-23, 2025 in Chicago: https://fretboardsummit.org

23:57 What to do with the unused bass control on a modded Vibrochamp?

31:38 Weak tremolo on a late 1970s Fender Deluxe Reverb; optocouplers

36:36 The Bastard Instrument (Amazon link); the Ampeg book

44:57 A Teisco Melody amp; Takt amps; installing an isolation transformer

55:49 ESR / Multifunction testers

59:51 Channel jumping on a black panel Fender; Yellow Jacket tube converters (Amplified Parts link, we’ll revisit this on our next episode…sorry)

1:05:30 The Soundmaster 600; Traynor YGM-3; Fender PS-400 and the Allman Brothers

Above: Listener Joel’s Teisco Melody amp

Want amp tech Skip Simmons’ advice on your DIY guitar amp projects? Want to share your top secret family recipe? Need relationship advice? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too.

Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.

Don’t forget, we have a Patreon page. Support the show, get behind-the-scenes updates and get to the front of the line with your questions.

The post The Truth About Vintage Amps, Ep. 151 first appeared on Fretboard Journal.

In this video, some of your favorite players—Marty Friedman, Jared James Nichols, Steve Reis, and Nate Garrett—share personal stories that go back to the beginning of their guitar journeys when Black Sabbath riffs constructed their musical foundation.

Nashville boutique guitar brand Novo was founded by Dennis Fano, of Fano Guitars fame, back in 2014. The two brands speak in similar design language and philosophy for obvious reasons, and Novo guitars have a style all their own. But like the first Fanos built by Dennis himself, Novo body shapes, finish schemes, and the feel of the instruments are prevailingly shaped by early and mid-’60s influences. Naturally these attributes shine when mated to the very Bass VI-like Voltur B6.

Origins of the Beast

A 6-string bass, unlike a baritone, is tuned exactly like a guitar, E to E—just an octave lower on a much longer scale. It’s likely the very first instrument built in this configuration was Danelectro’s UB-2 in 1956. But the famous evolution of the 6-string bass concept was introduced by Fender five years later, in 1961, and named the Bass VI. The Bass VI was never a common instrument, but it was, alongside the Danelectro, the choice for session players chasing the tic-tac sound, which mixes the percussive pick attack from a guitar and an upright bass. Six-string basses are all over genuinely classic tunes: “I Fall to Pieces” by Patsy Cline, “Wichita Lineman” by Glenn Campbell, and probably Elvis Presley’s “Jailhouse Rock,” which in 1957 became the first No. 1 hit in the U.S. believed to feature the 6-string bass. The Bass VI also turned up in the hands of artists like the Cure and Jack Bruce of Cream, and most famously was sometimes cradled by George Harrison and John Lennon while Paul McCartney tended to keyboards.

“It is really nice to see a manufacturer spend the time to develop such a refined take on the 6-string bass—premium price or not.”

For all the high-profile users and applications, Bass VI-type instruments like the Voltur B6 aren’t something too many manufacturers offer, and you see few in mainstream music. So, I was a bit surprised when my editor told me I would have the pleasure of reviewing one, and especially pleased it would come from such a renowned builder.

Luxury Accommodations

The Voltur B6 wows from minute one. It’s very stylish and well-made. And it is really nice to see a manufacturer spend the time to develop such a refined take on the 6-string bass—premium price or not. The finish is beautiful. Our review B6 came in a bold and attractive copper, but vintage-inspired paint jobs including Mary Kaye white, a very Gretsch-like nicotine blonde, a Silvertone-influenced starry night, and more are also available. The bass comes with three custom pickups by Lollar called Novo Gold Foils, which are visually distinctive for their almost industrial take on the vintage gold-foil design. Along with controls for volume and tone there are three very Bass VI-like switches for selecting different pickup combinations. Another striking design feature is the pairing of a Mastery M1 bridge with a Mastery NV vibrato with a lightning bolt arm that echoes the design themes in the pickup covers. The very comfortable 30" scale is spanned with a custom set of .026 -.095 strings by Stringjoy. I felt instantly at home.

It’s a Bass, It’s a Guitar, It’s…

When I grabbed the Voltur B6, the bass player side of my brain told me instantly to utilize the chordal possibilities of the instrument, largely because as a gigging bassist I don’t get to explore that technique as much. Playing a simple arpeggiated pattern, the notes rang out clearly like a guitar, but with the punch and authority of a bass (clip 1). The action of the test instrument was ever so slightly high for my liking, but I believe that contributes to the punch in each note. As a massive fan of the single-note signature lines normally played on a baritone guitar, I wanted to try that type of treatment on a melody line played very close to the bridge, for a skinnier, almost surf-like tone. The tone that came out of the Voltur 6 with the bridge pickup had an antique glow and a touch of garage attitude (clip 2). I desperately wanted to play more with this approach, but I was also eager to give the Novo the tic-tac treatment (clip 3). I recorded a bass line using a hollowbody short-scale bass and rolled off all the highs in order to better hear and feel the unique pick attack from the Voltur B6 when I doubled it. The result was a sound all its own—tubby, but warm and certain to sit prominently in a mix.

The Verdict

For an instrument that could be considered nichey, the Novo Voltur B6 is ultra-versatile. The three pickups offer significantly different tones—all of which have many possible uses. It’s addictive, utilitarian, and opens up many unique musical paths. And after living with this instrument for a while, I’m captivated by the idea of getting one for studio use. Novo’s Voltur B6 definitely comes with a boutique-builder price at $4,499. But the bespoke quality you sense playing up and down the neck, or just looking the instrument over, is undeniable. For any bass player or guitarist interested in a tool that can transport you beyond the box, the Novo Vultur B6 could lead to unexpected treasures.

As the world reels in the wake of Ozzy’s Osbourne’s death earlier this week, artists from the rock and metal world and far beyond have been sharing their own tributes to the Prince of Darkness, who shaped the music world as we know it today.

Jake E. Lee – who served as Ozzy’s guitarist between 1982 and 1987 – has shared the last text he ever received from Ozzy. Jake E. Lee performed at Black Sabbath’s huge farewell show just a couple of weeks ago, despite admitting he hadn’t spoken to Ozzy in decades.

• READ MORE: “They say never meet your idols, but that’s just not true. Sometimes you get lucky”: M. Shadows reflects on interviewing Ozzy Osbourne in 2017
  

Sharing that the “finality” of Ozzy’s death is hitting him “in waves”, Lee notes that he didn’t properly catch up with Ozzy during the show. Ozzy’s text to him following the event was as follows:

“Hi Jake. I’m so sorry I couldn’t spend more time with you on the weekend but it was really chaotic. I would really like to see you when I eventually get back to LA just to shoot the shit, it’s been so long since we saw each other. Where are you living these days? Because last I heard you were living in Las Vegas. How did the gig go for you on Saturday? I really hope you had fun anyway. I will text you when I eventually get back to LA and we must hook up. Much love and respect, Ozzy.”

During his Back to the Beginning appearance, Lee covered tracks like The Ultimate Sin and Shot In The Dark, solo tracks by Ozzy that he featured on during the ’80s. He replaced Ozzy’s previous guitarist Randy Rhoads and played on the 1983 release Bark at the Moon and The Ultimate Sin in 1986. In a 2022 Stereogum interview, Ozzy finally revealed why he fired Lee from the band back in the 80s: “Jake E. Lee was a fucking great guitar player, and the way it went was, Randy Castillo, my old drummer, had started to turn me against him. It was very sad because I had no qualms with the guy. He was a great guitar player.”

Following Ozzy Osbourne’s tragic death earlier this week, his Black Sabbath bandmate Tony Iommi reflected on the band’s final show, noting that “he really just held out to do that show”.

“He’s built up for it for a while now,” Iommi said. “He’s been sort of training and trying to do what he can, so he could do this gig, so he could do it. And that’s really what he wanted to do. I think he must have had something in his head that said, ‘Well, this is gonna be it, the last thing I’m ever gonna do.’ Whether he thought he was gonna die or what, I don’t know. But he really wanted to do it and he was determined to do it. And fair dues, he’d done it.”

The post “I’m so sorry I couldn’t spend more time with you”: Jake E. Lee shares the last text he received from Ozzy Osbourne appeared first on Guitar.com | All Things Guitar.

Mirage is a dual reverb workstation that goes far beyond traditional stomp box boundaries. Built around two fully independent engines - R1 and R2 - Mirage offers studio-grade processing, intuitive controls, and a remarkably flexible layout that appeals equally to sound designers, gigging musicians, and ambient explorers. Whether you're stacking two reverbs for depth, splitting engines across stereo channels, or dynamically morphing textures live, Mirage is built to perform.

Each engine can load one of 16 distinct reverb algorithms, organized into two banks. The Outer Bank focuses on natural, familiar reverbs: Plate, Spring, Cathedral, Room, Gated, and even the mythical Inchindown oil tank impulse (the longest recorded reverb in nature) - ideal for players looking to recreate spaces found in vintage recordings or real-world acoustics. The Inner Bank unleashes modern, ambient-driven effects: shimmer in various configurations (up, down octaves, blended, pitch-shi ed), modulation and echo based reverbs and infinite trails with the twist of a knob.

Each reverb engine has four dedicated knobs: Mix, Volume, Swell, and Excite. Swell typically controls decay or size, but some algorithms use it creatively - like gating time or freeze triggering. Excite is context-sensitive and adapts per algorithm: from shimmer balance to modulation depth, octave volume, or tone shaping. A Shi Push Switch toggles between the two algorithm banks, while a Voice Selector chooses the algorithm for each engine - no menu diving, just hands-on, instant access.

Routing is one of Mirage’s standout features. With series routing, you can stack the two reverb engines for massive atmospheric depth or use each engine independently for 2 mono reverb presets - engaging either footswitch as needed. Want to insert another pedal between the two engines? The SEND/RETURN loop between R1 and R2 is perfect for adding modulation, delay, filters, or even distortion/fuzz pedals for expanded textures.

Choose stereo or separate routing to process L and R channels independently, assigning distinct reverbs to each - or dial in slight differences on the same algorithm to widen the stereo image. You can even run two completely independent mono setups, each with its own activation footswitch. This is especially handy for one acoustic and one electric guitar setups, dual mono synth setups or setups using an external looper or switcher system. There’s also a Mono In/Stereo Out (MISO) mode, ideal for mono guitars, synths, or front-of-house reverb sends.

Internal switches on the back panel offer deep customization without the hassle of so ware editors. Choose between true bypass or buffered trails, activate Kill Dry for parallel rigs - send (aux) effects in the studio, and configure routing via the Assignment Switch (SOS or MISO).

Footswitch behavior is just as smart. In Independent mode, each footswitch toggles its engine on/off. In R1 XF mode, the right footswitch becomes a momentary controller that ramps either R1’s Swell or Excite to full - then returns it smoothly when released. Use it to perform bloom swells, shimmer bursts, gated punches, or on-the-fly freeze. Assign control via the R1 Control Assign Switch. You can also map an external expres

sion pedal to R2’s Excite or Swell using its own switch - the XP input accepts standard TRS expression pedals (up to 100k)

Despite all its power, Mirage is fast and intuitive. There are no menus, no screens - just direct access to deep features with a layout that invites experimentation. Mirage even remembers your power-up state (bypass or active) for seamless integration on stage or in studio.

Full Feature List

• Dual independent reverb engines - Dedicated controls per engine for hands-on shaping.
• Flexible routing setup: mono in series, stereo, independent dual mono, or mono to stereo configurations - easily adapts to complex gear rigs or in the studio.
• SEND/RETURN loop between engines - insert pedals between reverb stages for enhanced routing.
• 16 total algorithms split into two intuitive banks: vintage/classic and ambient/experimental.
• Studio-grade signal path with high headroom, clarity, and detail. Analog-dry signal path.
• Flexible footswitching modes - independent engine toggling or real-time ramp expression.
• Assignable external expression pedal input.
• Internal switches for routing and bypass mode selection.
• Direct, playable interface for instant creative results - no menus to navigate.
• Power supply (not included): Use an isolated 9V DC, 2.1 mm x 5.5 mm, center negative power supply.
• Max current consumption 210mA.
• Click-less true bypass design via high quality relay or buffered bypass with reverb trails.
• Power-up bypass/engage preset function for the footswitches.
• Top mounted jacks.
• Dark Abyss Blue die-cast enclosure.
• Compact, rugged enclosure - designed for road use without sacrificing control layout.
• (W x L x H) : 123 x 97 x 54 mm.
• Weight 457 g.
• Made in Greece.

A guitar once owned by Jimmy Page and given away by the Led Zeppelin man as part of a competition – hosted by none other than our sister title NME in 1974 (then New Musical Express) – is headed to auction.

As the story goes, the guitar – a 1957 Gretsch Chet Atkins 6120 electric – was the prize in a competition titled ‘Win Jimmy Page’s Own Guitar’. That edition of the magazine featured a photo of Page in cricket whites holding the competition guitar like a cricket bat.

• READ MORE: “They say never meet your idols, but that’s just not true. Sometimes you get lucky”: M. Shadows reflects on interviewing Ozzy Osbourne in 2017
  

The guitar was originally bought by Jimmy Page in Nashville in 1972 for £200, approximately £2,373.78 in today’s money, according to the Bank of England.

But the guitar found itself to be the prize of the NME competition two years later. The rules of the competition were such that entrants had to match six iconic guitars with the famous guitarists who owned them. The ultimate winner was Charles Reid of Hornsey, north London.

At the time, Reid was quoted as saying: “Page must be mental giving away such a terrific guitar as this. It’s the kind of instrument that every guitar player dreams of owning but can never really afford.”

After owning the guitar for over 15 years, Reid sold it to Phil O’Donoghue of Chessington, Surrey in 1990 for £2,000. The guitar remained with O’Donoghue until his death earlier this year, and is now being sold by his family.

While £2,000 in 1990 would be worth approx. £4,956.28 today, the guitar’s provenance means it’s expected to fetch quite a bit more than that when it sells in the near future through Gardiner Houlgate. The Corsham auction house estimates that the guitar could sell for between £30,000 and £50,000.

Auctioneer Luke Hobbs explains: “Very few of [Jimmy Page’s] guitars come up for auction and when they do, they attract huge interest from collectors, investors and fans of Led Zeppelin.”

The winning bidder will not only receive the guitar, of course, but also a copy of NME showing a photo of Page giving the guitar to Reid, as well as correspondence and receipts linked to the giveaway.

The auction itself will take place at Gardiner Houlgate, 9 Leafield Way, Corsham, Wiltshire, SN13 9SW on Tuesday, 9 September, but will also be available for public viewing on 5 and 8 September from 9am-5:30pm, too.

For more information, head to Gardiner Houlgate.

The post A Gretsch given away by Jimmy Page in a 1974 NME Magazine competition is headed to auction – and could fetch up to £50,000 appeared first on Guitar.com | All Things Guitar.

Fortin Amplification unveil the FOURTEEN: A dual-channel drive/boost pedal with unparalleled power and versatility.

Fortin Amplification is proud to announce the launch of the FOURTEEN, a groundbreaking dual-channel drive pedal born from the legacy of the acclaimed HexDrive. Originally developed by Mike Fortin for use within NeuralDSP’s Fortin plugins, the HexDrive quickly earned a reputation as the ultimate “screamer-style” boost for higher-gain guitar tones - and became a staple in the Fortin product line.

Building on this proven foundation, Mike has integrated his sought-after TS-style modifications - the F9 and F808 - into the new FOURTEEN. The result is a pedal that delivers unmatched tonal versatility and raw power for modern players.

Each of the FOURTEEN’s two identical, switchable, channels offers a selection of three distinct boost/drive modes, allowing users to shape their tone with precision and ease. With the addition of amp channel switching control, the FOURTEEN empowers guitarists to command their tone from a single, compact unit. The FOURTEEN is about control. It’s about power. And it’s about making sure you never sacrifice one for the other.

Key features of the FOURTEEN Dual Boost/ Overdive include:

• 2 identical, switchable, channels;
• Each channel has 3 modes - HD, F9 and F808;
• Assignable amp switching, the FOURTEEN can switch the amp channel, giving the player control of which stomp changes the amp. It also allows the player to assign an amp channel to whichever channel of the pedal they prefer;

Like every other Fortin pedal, the FOURTEEN is proudly made in the USA using only the highest grade materials selected for superior sound, response and reliability.

With years of experience recreating the iconic Interfax Harmonic Percolator - a distinctive, rare and sought-after mid 70s fuzz pedal - Fredric Effects now offers the Silicon Harmonic Percolator.

It's a revised version that swaps the original germanium components for carefully chosen vintage silicon transistors from 1980s East Germany. Fredric Effects have been building a part-for-part clone of the original 1970s Interfax Harmonic Percolator for over a decade now, and an improved version of that hybrid Silicon/Germanium circuit as the Utility Perkolator for almost as long.

The Harmonic Percolator circuit is simple and versatile, and careful component selection can yield fascinating results. This modified version of uses only silicon transistors manufactured 40 years ago in the former East Germany, and clips the signal using a weirdo East German diode array. This result is an effect which tightens and focuses the sound of the Percolator. The Silicon Harmonic Percolator sits somewhere between fuzz and distortion - clearer and more defined than a traditional fuzz, but still wild and saturated when pushed. It's a distinctive evolution of a cult classic.