Premier Guitar

Jackson is launching the X Series Surfcaster SC HT6 and SC HT7, and the JS Series Surfcaster JS22 HT: blending vintage appeal with thoroughly modern appointments for the ultimate modern metal machines. Featuring an Offset poplar body, High-output Jackson humbucker, and Jackson’s robust hardtail bridge to keep tuning stable and setup perfect.

X Series Surfcaster SC HT6

JS Series Surfcaster JS22 HT is available in Gloss Black and Snow White.

X Series Surfcaster SC HT7 is a 7-string model available in Metallic Black while the SC HT6 is a 6 string model available in Satin Black.

Billed as a practice amp, this 40-watt, solid-state combo with reverb and tremolo is clean, pedal- and stage-friendly, and affordable.

Orange O 40

I enjoy that back-of-the-throat, big cat growl that starts happening when you turn up the preamp of an Orange amplifier. But the company’s new O Tone 40 is a different breed of feline. With no gain control and a 1x12 made-in-Poland Voice of the World speaker that doesn’t break up until you start cranking it past noon, the O Tone 40 is designed to purr rather than snarl—unless lashed to an overdrive or fuzz pedal. It adds a different, more American-vintage flavor to the company’s lineup of versatile, low-priced new-generation amps and a voice shaped, in many respects,by the number and character of the stomps on your pedalboard.

Practice Schmactis

The solid-state O Tone 40 is billed as a practice amp, but I’d feel comfortable taking it onstage anywhere I’d use, say, a Deluxe Reverb or Blues Junior. It’s a 40-watt, class-AB build with 3-band EQ, digital reverb, and footswitchable JFET-driven tremolo. There’s an effects loop, too, and the combo clocks in at a light 26 pounds. In the modern practice-amp spirit, the O Tone has a 1/4'' headphone out and an unbalanced line-out to run into a DAW. There’s also an auxiliary input for, say, pumping in rhythm tracks or plugging in a metronome. The cabinet is medium-density fiberboard, versus the birch plywood of the 35-watt, 1x10 Orange Crush, which has no reverb or tremolo. And it’s tagged at a very reasonable $399, given its overall functionality.

With its classic control set—reverb, depth, speed, bass, midrange, treble, and volume, from left to right—the O Tone 40 is easy to use, and dialing up a host of good sounds with single-coil and humbucking pickups was a snap. The closed-back design and overall sonic profile tends to make the amp a bit bass heavy, especially with humbuckers, so it’s important to watch the EQ settings. I found a set-it-and-forget-it location with the bass at 9 o’clock, the mids floored, and the treble at 11 o’clock. This is a matter of taste, of course, and mine runs toward the mid-heavy with tempered treble. After all, Orange amps’ strength has always been the harmonic richness of their mids, and the O Tone 40 hits that mark. Plus, adding a little more treble pulled things toward Marshall territory, too.

Another aspect I loved was the breakup I started to hear working the volume up past noon. It’s more subtle than snarling, and reminded me of the organic dirty sounds that can be achieved by cranking up old Valco and Gibson amps from the ’50s and ’60s. So vintage tone hunters may find the O Tone 40 a great lower-priced alternative to an actual period piece. But the quiet effects loop also makes the amp ready for sonic futurism, if that’s one’s goal.

Finally, the reverb is deliciously spring-like, and the dial will travel from dry to surf to the supernatural. The tremolo has plenty of vintage character, too, although I would like to see a little more response in the lower range of the depth control, like that I’ve experienced with old Supros and Gibsons, which can get pretty radical right out of the box.

The Verdict

The super-affordable Orange O Tone 40 is versatile and pedal-friendly, with vibe-y reverb and tremolo as well as an effects loop, so stomp OD fans likely won’t miss the amp-maker’s usual appealing gain profile. There’s enough headroom for clean stage and rehearsal sounds at substantial volume, and pushing the volume past noon yields a very vintage-amp-like breakup profile, which make the O Tone a dependable work-pony with much more than a single trick.

Orange O Tone 40 Practice Amplifier - Orange

40 Watt single channel combo

The Icelandic rockers roll with semi-hollows for their hard-hitting blues.

Iceland-born, Nashville-based blues rockers Kaleo released their fourth full-length LP, Mixed Emotions, on May 9 via Elektra. To celebrate the album in their adopted hometown, they threw a party at American Legion Post 82 in East Nashville.

Some of the band’s gear had already been shipped to Red Rocks Amphitheatre, where the official release show took place on May 10, but “Kentucky Fried Scandinavian” lead guitarist Rubin Pollock gave PG’s Chris Kies a look at the must-haves loaded in for the legion gig.

Brought to you by D’Addario.

Best Buddy

Pollock bought this 1967 Gibson ES-345 at Carter Vintage Guitars in Nashville, and since then, it has been his closest friend, used on all tours and recordings. He favors its out-of-phase sounds brought on by using both pickups, and though it's equipped with a Varitone knob system, Pollock almost never uses it. He hasn’t changed the strings in years.

The Kustomer is Always Right

It was almost closing time when Pollock saw this Kustom K-200 hanging on a wall in a New York City guitar shop. The shop clerk said there was no time to try it, so Pollock bought it on the spot. It has a darker tone than his 345, which he brightens with a wah pedal. Its strings haven’t been changed since he bought it.

A Fender Mustang, bought in 2016, was treated to new strings recently by Pollock’s tech. He didn’t seem stoked.

Projector Project

With his black-panel Fender Deluxe already making its way to Red Rocks, Pollock opted for this Austen Hooks-built projector amp. Hooks built him one after Pollock fell in love with another of his builds at a Los Angeles studio.

Rubin Pollock’s Pedalboard

Pollock packs light, configuring his board to fit in a shoulder bag that he can carry himself wherever he needs to go. His pedals include a Strymon El Capistan and Flint, JHS Colour Box, DigiTech Whammy Ricochet, Boss TU-3, Fulltone Octafuzz, Chase Bliss Preamp Mark II, and an Isle of Tone “Cookie Monster” fuzz.

Jökull Júlíusson’s Guitars

Jökull “J.J.” Júlíusson couldn’t make it for the Rundown, but Pollock gave us a look at his Gibson ES-330 and his signature resonator, built by English luthier Pete Turner. Behind them sits J.J.’s long-time go-to amp, his Orange AD30, which ran through an Orange 1x12 cab.

Jökull Júlíusson’s Board

Júlíusson’s board includes a Strymon Flint and El Capistan, Boss TU-3, a custom Sounds of Shelby drive pedal, Vemuram Shanks ODS-1, MXR Ten Band EQ, and Radial StageBug DI box, plus a channel switcher for the AD30.

Strymon El Capistan

Strymon Flint

JHS Colour Box

DigiTech Whammy Ricochet

Boss TU-3

Fulltone Octafuzz

Gibson ES-335

Radial Stage Bug

MXR Ten Band EQ

Orange AD30

Orange 1x12

Fender Mustang

Essence-GA4

The Essence Series offers a pure acoustic guitar experience. By focusing on core elements, we’ve crafted a guitar that delivers exceptional sound and playability at an affordable price. The solid torrefied Sitka spruce top produces a rich, warm tone, perfectly balanced by mahogany back and sides. The intricate herringbone rosette and purfling add visual appeal, while the Fishman preamp system ensures your sound remains clear and vibrant, even on stage. The Essence Series offers the perfect blend of value and performance to suit your style.

Cort Essence GA4

Today, I was thinking about the differences between players and collectors. Like, how do you view your passions when it comes to the guitar? Right now, I play a little and collect a little, but that’s changed over time. Some players scoff at the idea that they are collectors just because they buy and sell a ton of gear, always searching for some tone or sound. Others revel in the idea of collecting and having a trove of gear stacked like cord wood, basically insulating their homes! And yet, there remains another classic of the genre where there is either delusion or confusion—a hazy, gray-area group.

There was a time when I was a faithful responder, meaning I answered every email or query that came my way. I was in the habit of coming home from work, making dinner for everyone, and then retreating to my basement where I would spend a few hours researching and answering questions related to guitars. Sometimes I would simply be a librarian answering with facts, and other times I would play psychologist by assuring people of purchases and potential buys. It was here that I discovered the haziness of us guitar folk, the ones caught betwixt and between.

For instance, the players were often the coolest peeps. They asked the fewest questions and often looked at instruments as tools. Collectors also didn’t ask many questions, because this group was looking more at rarity, resell, and looks—like art collectors! But the group of people in between those designations couldn’t figure out what they were. They often thought of themselves as gigging musicians, but I think most rarely left the house. This group of guitar enthusiasts were as eclectic and bizarre as the guitars!

Here is where I encountered someone we’ll call “Bob.” Bob could go either way when it came to our conversations. Bob had discovered my website and was particularly interested in vintage Italian electrics; he would send extremely long emails that went this way and that. He told me about his grandiose exploits and how he was a studio musician (which he wasn’t), and he would often ask the same questions over and over, even though I had answered him beforehand. Anyway, things became totally surreal when I posted a picture of a recent find, an Imperial Tonemaster 30V that was made by the Italian Crucianelli Company in the mid 1960s.

In short, Italian electrics had a so-so run of imports to the U.S. Most of the companies in Italy were making accordions, and many of them switched to guitars in the early ’60s since the supply chains were already in place. But pretty soon the Italian guitars were pushed out of the market by Japanese competition. The Italian electrics were also pricey, right in line with some Fender electrics of the time. Finding these old Italian guitars can be difficult, and I’ve only ever had about 12 examples in my collection. Most of the Crucianelli guitars I had were rather well-made, but often electrically complicated, as in all the push-button combinations you can see on this model. Perhaps the two coolest things on this guitar are the pickups, which are amazing mini-humbuckers, and the finish. It’s really hard to photograph, but it’s like this zig-zag, black-and-silver, television-static pattern that’s just gonzo—like pearloid gone wild, in the true style of the Italian designers. Of course, when Bob saw the pic of this guitar, he had to have it.

“Sometimes I would simply be a librarian answering with facts, and other times I would play psychologist by assuring people of purchases and potential buys.”

Somehow, Bob knew that this particular pearloid finish was rare, and he basically obsessed over it, saying how it would “pop” on stage. Then the incessant questions: How does it sound? Aggressive and crunchy. How does it play? Not too well. Is the case original? Don’t know. What do the switches do? They activate the pickups. And so on, and so on, every day the same questions about the smallest details. Was he seeing cracks in the finish? Why wasn’t there a zero fret? What’s the fretboard radius? Are the frets nickel or steel?

It never ends with these Bobs. Mostly, they’re just tire kickers with some sort of compulsion; this gray group of Bobs never seem happy, and I’d guess they just want to be heard, but I don’t know for sure. Now that I think of it, they’re sort of gonzo gray—like the finish on this Imperial Tonemaster!

Punch Brother and friend of the podcast Chris “Critter” Eldridge drops by to talk about the great Tony Rice. Not only is Rice one of the most reputable legends of bluegrass guitar, he also served as Eldridge’s mentor.

Eldridge, who paid tribute to Rice in 2022 with the Punch Brothers’ Hell on Church Street, shares his firsthand stories of listening to music with Rice on his home stereo and taking his legendary guitar to a jam session. Plus, he shares his Tony Rice listening list.

Line 6, Inc. has introduced the Helix® Stadium Family of products. Leveraging powerful DSP and the entirely new Agoura™ modeling methodology, they deliver extraordinary sound and responsiveness, a sophisticated yet intuitive user interface, and unparalleled control capabilities. The Helix Stadium Family includes the Helix Stadium XL Floor and Helix Stadium Floor processors, the Expand D10 digital I/O expansion unit (VDI, L6 LINK™, and other connectivity), the EX2™ expression pedal/toe switch, and the Helix Stadium Backpack.

"Helix Stadium XL Floor and Helix Stadium Floor are in many ways a new type of product,” said Eric Klein, Chief Product Design Architect. “In addition to featuring the best-sounding, most powerful, and most flexible processing Line 6 has ever offered, they can serve as performance workstations that aim to upend the way you approach playing—whether that’s writing and learning songs, jamming with friends, or controlling your band’s entire stage rig. And most of all, they’re fun to use.”

The flagship Helix Stadium XL Floor and the streamlined Helix Stadium Floor feature high-resolution 8" touch screens, high-contrast OLED scribble strips (XL only), the ability to morph between ultra-authentic and idealized amp sounds with a single control, 8-channel audio interfaces, Matrix cue mixers, and Showcase™ automation and playback engines that enable them to serve as the centerpiece of entire stage setups.

Whether you are a current Helix owner seeking to further your sonic adventure (your Helix/HX® presets can be loaded into Helix Stadium), or you are considering upgrading from another modeler, or even if you are a traditional amp and effects player intrigued by the convenience and nearly unlimited tone-crafting possibilities offered by multi-effects—Helix Stadium can help you realize your musical vision.

Pricing

U.S. customers can expect to see advertised prices starting at $1799.99 USD for Helix Stadium Floor, $2199.99 USD for Helix Stadium XL Floor, $219.99 USD for Expand D10, $149.99 USD for EX2, and $249.99 USD for the Helix Stadium Backpack. For customers outside the U.S., please contact your local Line 6 retailer for pricing information.

 Availability 

Starting on June 25th, you can reserve your Helix Stadium online and in stores. Helix Stadium XL Floor will be available Fall 2025, and Helix Stadium Floor in Winter 2025.

We continuously work with our retailers in the U.S. and in international markets to ensure our customers have experiences that reflect the quality of the Yamaha Guitar Group, Inc. brands. To protect our retailers’ ability to offer top-of-the-line customer service and education, Yamaha Guitar Group, Inc. unilaterally established a minimum advertised pricing (MAP) policy for the advertisement of certain Yamaha Guitar Group, Inc. products by its retailers in the U.S.

Learn more at:

https://line6.com/helix-stadium

Like so many pedals that became legends, the Klon Centaur spawned legions of copies and imitators that possess unique virtues all their own. You can now count Keeley’s new Manis among the Klon-inspired stomps that took a great idea and shaped something uniquely awesome in the process. As far as klones go, it’s a great one. Tested alongside a very accurate klone that I use as a benchmark in Klon tests (it was A/B tested with a real-deal Klon once owned by my colleague Joe Gore), the Manis was virtually a mirror image, and often a more satisfying one for its slightly less compressed voice.

One of the most practical attributes of good Klon-style pedals is the relative ease with which they pair with very different rigs. The circuit’s inherent ability to span mellow boost and ferocious, chugging distortion while maintaining dynamic response and detail makes it an invaluable tool for coping with luck-of-the-draw backlines and adjusting to venues of varying size. With options to use germanium transistor clipping and a bass boost, however, Manis multiplies this multifacetedness considerably.

The Deadly Manis

Germanium clipping diodes are, of course, among the most critical parts of the original Klon’s architecture, and the Manis sounds beautiful and accurate in germanium-diode mode. But when germanium transistors take over the clipping function, the character of the pedal changes perceptibly. The Manis is audibly and tangibly less compressed, there’s more air and space in the output, and it’s easier to summon extra grit from your signal by changing pick intensity. You might hear a little less focus in germanium transistor mode, which can adversely affect the pedal’s ability to slot in a busier mix. But in isolation, the germanium transistor clipping sounds and feels much more awake and dynamic. The ability to switch between the two also makes the Manis more versatile when stacking with fuzz and other overdrives, and merely flipping between clipping modes could significantly recast the personalities of Big Muffs, Fuzz Faces, and even other klones without diluting their essence.

“The Manis is audibly and tangibly less compressed, there’s more air and space in the output, and it’s easier to summon extra grit from your signal by changing pick intensity.”

Switching in the bass boost, which gives the Manis a 3 dB kick one octave below the circuit’s usual cutoff frequency, also adds a significant breadth to your available tone spectrum. It can lend warmth to the most authentically Klon-like voices in germanium diode mode, or lend an almost Marshall-like sense of oomph to a signal without compromising much in the way of dynamics.

Ultimate Klon Killer? The Keeley Manis Overdrive Demo with John Bohlinger | First Look

The Verdict

If the Manis was merely a klone that hewed close to its inspiration, it would be an admirably authentic example of the breed. But the bass boost and transistor clipping modes make the Manis a potentially invaluable survival tool for any player that faces changing amplifiers, venues, and recording situations, and needs to extract the most utility possible from every pedal. It might well be the only klone you ever need.

Spector Bass unveils the Doug Wimbish Euro 4 Signature Model, meticulously designed in partnership with the legendary bassist himself. Featuring custom-voiced EMG pickups and a slim neck profile for unmatched speed and comfort, this bass is a player's tool and a piece of history. Available worldwide from Spector Dealers.

Spector Bass unveils the Doug Wimbish Euro 4 Signature Model, an inspired evolution of Doug’s iconic 1987 NS-2 bass. Building on the momentum of the 2024 USA Signature Series, this new Euro model brings Wimbish’s unmistakable tone, style, and legacy to an even wider audience. As bassist for the legendary rap label Sugarhill Records backing Grandmaster Flash & The Furious Five to the pioneering Living Colour, Wimbish has lent his innovative and creative bass grooves and sounds to a roster of world-renowned musicians.

Meticulously designed in close partnership with Doug Wimbish, the Euro4 DW features a signature slim neck profile and narrow nut width to offer unmatched speed and comfort. As well as custom-voiced EMG pickups, developed alongside Doug himself, delivering that unmistakable tone that’s powered countless records, tours, and sessions. Considered a pioneer in Hip-Hop bass playing and in the use of bass effects, alternate tunings and extended hand techniques, Wimbish’s mastery of the bass is unparalleled.

“My Spector Euro 4 Signature Model is absolutely stunning - visually, sonically and with the feel of my original '87 NS-2 Spector 4-String,” shared Wimbish. “The stars aligned on this new model - everything came together. I knew instantly when I played the first note on this model that we had a winner! I couldn't be happier - what a wonderful instrument.”

Finished in Amber Stain, Black Stain (gloss), and a Limited Aged Nitro finish that authentically replicates the wear and feel of Doug’s original bass, the Euro 4 Signature is both a player’s tool and a piece of history. A figured maple top, classic maple body wings, and a rosewood fingerboard with mother-of-pearl crown inlays complete the look. Gold Spector hardware adds a touch of elegance, while the Spector Legacy Preamp delivers a powerful, 1980s-inspired 2-band EQ—the heartbeat of Doug’s signature sound.

Now available worldwide from Spector Dealers, the Amber Gloss and Black Gloss is $3,499.99, and the Amber aged $3,699.99.

For more information, please visit spectorbass.com.

EarthQuaker Devices One to Four Splitter and Four to One Mixer: Create unique sonic adventures with our high-quality, compact devices. The One to Four Splitter features unity gain buffers and the Four to One Mixer offers independent level controls and selectable phase for each channel. Backed by a limited lifetime warranty.

Greetings sonic explorers! We have crafted the One to Four Splitter and Four to One Mixer to help route your next musical adventure and create sounds you never thought possible.

The One to Four Splitter allows the user to take one input and send it through four buffered outputs for unlimited creative potential. Use it to run out to four amps to play in quadraphonic sound and blow people’s minds. Send a clean signal to your DAW and another through your normal signal chain to have a clean back up while recording. Or use it to run 2 parallel stereo signal paths.

The One to Four Splitter features a unity gain buffer on each output for maximum punch and clarity. These buffered outputs have a flat frequency response with a high 1MOhm input impedance and a low 100 Ohm output impedance. This ensures that your signal won’t lose any quality and will sound just like you intended.

The Four to One Mixer is a simple and compact 4-channel mixer with independent level controls and selectable phase for each channel. It can be used just about anywhere you need to mix four different sources into a single output with your unique sound! Phase selector switches for each channel will correct any issues you might have from mixing multiple signals with opposing polarities.

The Four to One Mixer features a high 1 MOhm input impedance and a low 100 Ohm output impedance, ensuring all signals maintain their sonic integrity throughout their journey, even on long cable runs. The high headroom and input impedance of this device allow it to accept a variety of instruments without distortion or clipping. This was built to handle just about anything, including guitars, basses, synthesizers, drum machines, and more…

When used in conjunction, the One to Four Splitter and Four to One Mixer can create wild parallel signal paths at the flip of a switch! Both devices feature high-quality components and are backed by a limited lifetime warranty.

For more information, please visit earthquakerdevices.com.

One to Four Splitter

• Unity gain buffers on each output for maximum punch and clarity
• The buffered outputs have a flat frequency response with a high 1 Mohm input impedance and a low 100 ohm output impedance so that your signal won’t lose any quality
• Limited lifetime warranty
• Current Draw: 15 ma
• Input Impedance: 1 MΩ
• Output Impedance: 100 Ω
• Retail Price: $99.00

EarthQuaker Devices One to Four Splitter Pedal

One to Four Splitter

Four to One Mixer

• A simple and compact 4 channel mixer with independent level controls and selectable phase for each channel
• Features a high 1 MOhm input impedance and a low 100 Ohm output impedance ensuring all signals maintain their sonic integrity throughout their journey, even on long cable runs
• The high headroom and input impedance allows it to accept a variety of instruments without distortion or clipping
• Phase selector switches for each channel will correct any issues from mixing multiple signals with opposing polarities
• Limited lifetime warranty
• Current Draw: 50 ma
• Input Impedance: 1 MΩ
• Output Impedance: 100 Ω
• Retail Price: $159.00

EarthQuaker Devices Four to One Mixer Pedal

Four to One Mixer

Ciari Guitars introduces the Steve Stevens Signature Ascender, a groundbreaking travel guitar merging folding technology with elite performance features. Designed for musicians on the go, this innovative model offers premium materials, custom pickups, and unique design elements.

Ciari Guitars, the pioneering brand behind the world's most innovative travel guitars, proudly announces its first-ever Signature Series model in collaboration with Grammy Award-winning songwriter, guitarist, and rock legend Steve Stevens. Best known for his work with Billy Idol and contributions to music icons like Michael Jackson, as well as culture-defining films such as Top Gun, Stevens brings his unparalleled tone and artistry to Ciari’s revolutionary platform.

The Steve Stevens Signature Ascender™ merges Ciari’s patented folding technology with the high-performance features demanded by elite touring musicians. Designed for tone, portability, and stage-ready aesthetics, the Signature model offers a new benchmark in travel guitar innovation - perfect for stage, studio, and everywhere in between.

“Imagine flying with a truly professional, high-quality guitar and not having to worry about an airline damaging it,” says Stevens. “With my signature Ciari guitar, you just fold it up, stick it in its included backpack, and slide it under your seat. Ciari has changed the game, and I’m proud to put my name on this instrument.”

Crafted with premium materials and custom features handpicked by Stevens himself, the guitar is built for musicians who refuse to choose between convenience and performance. The Signature Ascender features a custom neck profile, premium pickups, and striking visual elements that reflect Steve’s iconic style. The Signature Series includes two models: the Steve Stevens Signature Ascender Platinum, available in Jet Black Glass and Olympic White Gloss, and the Steve Stevens Signature Ascender Premier, available in Jet Black Glass, Olympic White Gloss, and Josie Pink.

The Steve Stevens Signature Ascender boasts the following key features:

• Bare Knuckle Ray Gun pickups for dynamic, precise tone.
• Coil-splitting functionality for versatile sound options.
• LED Selector Switch with Red, Green, and Blue position indicators on the Ray Gun Logo.
• Bezel tuners for effortless, accurate tuning.
• Premium electronics with stacked pots for seamless control.
• Trapezoid inlays and Ray Gun-inspired design elements
• Ciari’s patented foldable neck system allows for “Personal Item” convenience on planes.

“Partnering with Steve Stevens for our first Signature Series is a dream,” said Jonathan Spangler, Founder & CEO of Ciari Guitars. “He embodies everything we value — innovation, excellence, and fearless artistry. This guitar is the culmination of that shared vision.”

The Steve Stevens Signature Ascender is available for pre-order exclusively on the Ciari Guitars website.

For more information, visit ciariguitars.com.

Steve Stevens is currently on a worldwide tour with Billy Idol, supporting the duo’s chart-topping new album Dream Into It.

With switches that add germanium transistors and a bass boost to the classic Klon formula, Keeley delivers a more flexible and often more potent overdrive.

The Keeley Manis uniquely combines both germanium NOS transistors and diodes for more compression and saturation. This evolution is unlike any other mythical Klone! Keeley writes the next chapter in the legend of the mythical Klone pedal with several storied upgrades and features. First up is the germanium diode switch. The essential germanium diodes are at the heart of the myth. By transposing germanium diodes with germanium transistors (Cold War-era devices), we increase the sustain and saturation in the pedal. The Manis can give you a softer attack that sounds more like a tube amp. Less mid-forward, more tube-amp like. This feels incredible under your fingertips. Wouldn’t you like to hear a little more of the natural low end from your guitar? The bass boost switch pushes the lower half of the mid-focused response by one octave and increases the output by +3dB. It’s the perfect low end recovery for single coil guitars. You can choose True Bypass or Buffered Silent Switching on the fly. The Manis is built like a tank and is the first Klone you can power with 18 volts for increased headroom. The Manis is an evolution of the original circuit.

• The Manis isn't just a mod: it’s an evolution of the mythical overdrive mid-boost pedal.
• Ge-Trans Switch offers a welcome difference in feel of the circuit with more of a tube-like saturation and compression.
• The Bass+ Switch – Lowers the frequency response by one octave and then pushes 3dB harder
• True-Bypass or Silent Switching – Whichever works and sounds best in your rig
• Power Protection up to 18 volts for increased headroom - without damaging the charge pump.

Germanium Transistors

Central to the superior tone from the Manis Overdrive is the germanium transistors we select for increased saturation, compression, and sustain. Each transistor is tested for noise and accuracy ensuring you have an incredible tone.

Switchable Low Frequency Cutoff

The Manis Overdrive gives you just the perfect lift in bass response so that your tone is not as mid-focused. Perfect for making single coils fatter, fuller, and more powerful.

Buffered Bypass or True Bypass

The Keeley Manis Overdrive allows you to quickly switch between either mode. Having a great buffer will make your rig sound strong and clear even when the pedal is off. Buffered switching prevents the pops and clicks of true-bypass switching. If you want to turn on true-bypass, simply press and hold the foot switch for two seconds. Holding the switch for two seconds toggle between modes. True Bypass is great if a buffer might affect the tone of a vintage pedal. Enjoy truly silent switching and a better sounding rig with Keeley’s buffered switching mode.

Keeley Electronics has unveiled the new Manis overdrive, a uniquely versatile take on the iconic “transparent overdrive” pedal that has infatuated guitarists for three decades. Unlike any other “Klone”, the Keeley Manis combines both germanium NOS transistors and diodes, allowing guitarists an option for more compression and saturation in their sound.

In addition to delivering a right-on-the-money version of the classic transparent overdrive – shaped by the familiar 3-knob set of “Tone,” “Drive” and “Level” controls – the Manis provides two great new tone-shaping options – each controlled by dedicated toggle switches – that vastly expand the pedal’s sonic range.

The first of these upgrades is a two-position toggle switch for selecting either germanium diodes (an essential part of the classic transparent overdrive tone) or Keeley’s carefully selected germanium transistors in the pedal’s circuitry. The two settings provide dramatically different sound and feel, adding a wonderful versatility that is missing in other Klones. Select the germanium diodes (labeled GE Diode below the toggle switch) and you’ll get the iconic Klone sound. When you flip the toggle switch up and transpose germanium diodes with germanium transistors (labeled GE Trans), you’ll instantly get increased sustain and saturation in the pedal. In this mode the Manis provides a softer attack that sounds more like a tube amp. It’s less mid-forward, more organic, and feels incredible under your fingertips.

The second major upgrade allows you to tailor your bass response with a two-position toggle switch to select either “stock” voicing or enhanced bass voicing. Wouldn’t you like to hear a little more of the natural low end from your guitar? The Manis’ bass boost switch (labeled Bass+ above the toggle switch) pushes the lower half of pedal’s response by one octave and increases the output by +3dB. It’s perfect for making single coils sound fatter, fuller, and more powerful, and addresses an age-old complaint from some Klone users who feel the original pedal is too light on low-end brawn. If you wish to stick with the traditional voicing, simply use the toggle’s lower position (labeled Stock) for a more mid-focused tone.

Keeley’s Manis allows you to choose True Bypass or Buffered Silent Switching on the fly. Having a great buffer will make your rig sound strong and clear even when the pedal is off. Buffered switching prevents the pops and clicks of true-bypass switching. You can easily access quick, hands-free switching between either mode. To turn on true-bypass, simply press and hold the foot switch for two seconds. Press and hold the switch again for two seconds and you’ll return to buffered mode. True Bypass is great if a buffer might affect the tone of a vintage pedal further down in your signal chain. Enjoy truly silent switching and a better sounding rig with Keeley’s buffered switching mode.

The Manis is made in the USA and built like a tank. And it’s the first Klone you can power with 18 volts for increased headroom.

Manis highlights:

• The Manis isn't just a mod: it’s an evolution of the mythical overdrive mid-boost pedal.
• Ge-Trans Switch offers a welcome difference in feel of the circuit with more of a tube-like saturation and compression.
• The Bass+ Switch – Lowers the frequency response by one octave and then pushes 3dB harder for bigger, fuller low-end tone.
• True-Bypass or Silent Switching – Whichever works and sounds best in your rig
• Power Protection up to 18 volts for increased headroom - without damaging the charge pump.

Manis is made in the USA in Keeley’s state-of-the-art Oklahoma City shop. From the meticulously built circuit boards to the newly fabricated aluminum enclosure, Keeley makes guitar effect pedals like finely crafted musical instruments.

The Keeley Manis Overdrive carries a street price of $199 USD. For more information visit rkfx.com.

George Harrison’s melodic approach to slide playing was a quintessential part of his post-Beatles solo work. And his approach to harmony, using thirds and fourths, was a major part of his signature guitar sound throughout his career. In this video, Caitlin Caggiano shows you how to de-code the magic behind some of Harrison’s most signature leads.

Andy Powers’ influence on the substance and style of Taylor guitars has been truly significant. Over his 14-year tenure leading Taylor’s design efforts, he’s introduced entirely new bracing patterns and body profiles—never easy when working for a legacy brand in a tradition-oriented industry. In crafting the new Gold Label 814e Koa Super Auditorium, Powers might have created Taylor’s prettiest body shape yet—a blend of sweeping curves, airy lines, and graceful proportions that, like a river stone, appear as if shaped by water.

Stylish, for sure. But there’s substance in abundance, too. The ever-tinkering Powers reconfigured the V-Class bracing Taylor introduced in 2018 for the new Gold Label 814e guitars. There’s also a new glue-free long-tenon neck—significant news considering how large Taylor’s NT neck looms in the company’s identity. What’s interesting about those moves is that Powers was keen to bake a visceral sense of vintage-ness into this guitar. The Gold Label 814e doesn’t sound much like the old American flattops I run into, but it’s distinguished by sweetness, clarity, balance, and expressive range.

Presence and Proportions

The Super Auditorium body shape that debuts with the Gold Label 814e is a close relative of Taylor’s lovely Grand Auditorium shape, which, at 30 years old, is now a foundational part of Taylor’s line. In fact, the 814e Koa is just 3/16" longer and 1/4" wider than a Grand Auditorium. More obvious is the absence of a cutaway, and the symmetry of the curves highlight lovely, just-about-perfect proportions. It’s a beautiful guitar, but it’s probable the increase in dimensions has more to do with Powers chasing a specific sound. Certainly, more size could align with aspirations to the antique tone glow of a vintage American flattop.

The collective effect of the body dimensions (which live in a sweet spot between grand Concert and dreadnought size) and the modified V-Class bracing means the Gold Label 814e’s voice is distinctive rather than overtly “vintage” (a broad, unspecific term at best). At the risk of disappointing Powers and Taylor, I think the Gold Label 814e exhibits many classically Taylor tone attributes to excellent effect, and the snappy midrange and relatively even string-to-string balance at times evoke an acoustic that’s been EQ’d and compressed by a recording engineer. But what will resonate for many players is the way the Gold Label 814e complements the modern facets of its voice with toasty bass from the 6th string and a little less top-end brilliance from the 1st and 2nd strings—qualities you’re more likely to hear in a guitar with 70 years of toil baked in. In the Gold Label 814e, those tonalities are bookends for a broad midrange that is very present and very Taylor, and whether that whole suits your playing style has a lot to do with how much you can leverage its impressive dynamics. Heavy-handed strumming confirms that the Gold Label 814e is capable of being very loud. It also highlights a pronounced midrange that, for all the guitar’s string-to-string balance, can be a bully if you have a heavy touch. If your approach is more varied and sensitive, though, the extra volume becomes headroom and the midrange becomes a chrome shine set against a dusty desert patina. It’s a killer recipe for fingerstyle. A light touch can still generate detailed, complex overtone pictures, while the high headroom accommodates and inspires high-contrast high-intensity counter phrasings. There’s a lot of room to explore.

Grease the Runway

Playability is, as expected, a strong suit. The action feels extra-easy and encourages hyperactive playing styles as well as languid chording that utilizes the instrument’s sustain, range, and rich pianistic qualities. The 1:21 ratio Gotoh 510 tuners feel ultra-precise, making moves between alternate tunings easy and enhancing an already strong sense of performance stability. Flawless fretwork, meanwhile, feels fantastic and underscores Taylor’s super-high quality. A fatter neck profile certainly would have suited me, and even though you can feel the tiniest hint of a V-profile bump at the neck contour’s apex, it still feels a touch thin. Even so, a lack of hand fatigue and a sense of fleetness in the fingers make the trade-off worthwhile.

Appropriately, for a guitar that costs $4.8k, the Gold Label 814e is a feast for the eyes, but in a sneaky, not-too-extroverted kind of way. The Hawaiian koa back and sides, which are a $300 upcharge from the rosewood-backed 814e, are, along with the Continental inlays, the flashiest element of the instrument. And though the high-quality lumber elsewhere in the guitar (torrefied spruce top, ebony fretboard, mahogany neck, ebony tuning keys) all feel luxurious, the deeply figured koa adds an extra splash of bespoke flash. Seasoned Taylor spotters will also note that the lines of the koa sides are not cluttered with the controls of the Expression System 2 electronics, which have been replaced here by an excellent L.R. Baggs Element VTC system that utilizes controls tucked inside the soundhole.

The Verdict

Though the 814e Koa aspires to 1940s and ’50s American flattop vintageness, it doesn’t always deliver on that count. For the right player, though, the instrument offers a unique and complex voice with a super-wide dynamic range and soft-focus bass and treble tones that temper the midrange. The new glue-free, long tenon neck can be reset fast and inexpensively should that time ever come, which might make the sting of the hefty $4,799 investment feel less risky—at least in maintenance terms. Yep, it’s really expensive. But consider, too, the joys of beholding the 814e Koa’s graceful curves all day—you might be able to justify the cost as a musical instrument as well as art.

Andy Powers’ influence on the substance and style of Taylor guitars has been truly significant. Over his 14-year tenure leading Taylor’s design efforts, he’s introduced entirely new bracing patterns and body profiles—never easy when working for a legacy brand in a tradition-oriented industry. In crafting the new Gold Label 814e Koa Super Auditorium, Powers might have created Taylor’s prettiest body shape yet—a blend of sweeping curves, airy lines, and graceful proportions that, like a river stone, appear as if shaped by water.

Stylish, for sure. But there’s substance in abundance, too. The ever-tinkering Powers reconfigured the V-Class bracing Taylor introduced in 2018 for the new Gold Label 814e guitars. There’s also a new glue-free long-tenon neck—significant news considering how large Taylor’s NT neck looms in the company’s identity. What’s interesting about those moves is that Powers was keen to bake a visceral sense of vintage-ness into this guitar. The Gold Label 814e doesn’t sound much like the old American flattops I run into, but it’s distinguished by sweetness, clarity, balance, and expressive range.

Presence and Proportions

The Super Auditorium body shape that debuts with the Gold Label 814e is a close relative of Taylor’s lovely Grand Auditorium shape, which, at 30 years old, is now a foundational part of Taylor’s line. In fact, the 814e Koa is just 3/16" longer and 1/4" wider than a Grand Auditorium. More obvious is the absence of a cutaway, and the symmetry of the curves highlight lovely, just-about-perfect proportions. It’s a beautiful guitar, but it’s probable the increase in dimensions has more to do with Powers chasing a specific sound. Certainly, more size could align with aspirations to the antique tone glow of a vintage American flattop.

The collective effect of the body dimensions (which live in a sweet spot between grand Concert and dreadnought size) and the modified V-Class bracing means the Gold Label 814e’s voice is distinctive rather than overtly “vintage” (a broad, unspecific term at best). At the risk of disappointing Powers and Taylor, I think the Gold Label 814e exhibits many classically Taylor tone attributes to excellent effect, and the snappy midrange and relatively even string-to-string balance at times evoke an acoustic that’s been EQ’d and compressed by a recording engineer. But what will resonate for many players is the way the Gold Label 814e complements the modern facets of its voice with toasty bass from the 6th string and a little less top-end brilliance from the 1st and 2nd strings—qualities you’re more likely to hear in a guitar with 70 years of toil baked in. In the Gold Label 814e, those tonalities are bookends for a broad midrange that is very present and very Taylor, and whether that whole suits your playing style has a lot to do with how much you can leverage its impressive dynamics. Heavy-handed strumming confirms that the Gold Label 814e is capable of being very loud. It also highlights a pronounced midrange that, for all the guitar’s string-to-string balance, can be a bully if you have a heavy touch. If your approach is more varied and sensitive, though, the extra volume becomes headroom and the midrange becomes a chrome shine set against a dusty desert patina. It’s a killer recipe for fingerstyle. A light touch can still generate detailed, complex overtone pictures, while the high headroom accommodates and inspires high-contrast high-intensity counter phrasings. There’s a lot of room to explore.

Grease the Runway

Playability is, as expected, a strong suit. The action feels extra-easy and encourages hyperactive playing styles as well as languid chording that utilizes the instrument’s sustain, range, and rich pianistic qualities. The 1:21 ratio Gotoh 510 tuners feel ultra-precise, making moves between alternate tunings easy and enhancing an already strong sense of performance stability. Flawless fretwork, meanwhile, feels fantastic and underscores Taylor’s super-high quality. A fatter neck profile certainly would have suited me, and even though you can feel the tiniest hint of a V-profile bump at the neck contour’s apex, it still feels a touch thin. Even so, a lack of hand fatigue and a sense of fleetness in the fingers make the trade-off worthwhile.

Appropriately, for a guitar that costs $4.8k, the Gold Label 814e is a feast for the eyes, but in a sneaky, not-too-extroverted kind of way. The Hawaiian koa back and sides, which are a $300 upcharge from the rosewood-backed 814e, are, along with the Continental inlays, the flashiest element of the instrument. And though the high-quality lumber elsewhere in the guitar (torrefied spruce top, ebony fretboard, mahogany neck, ebony tuning keys) all feel luxurious, the deeply figured koa adds an extra splash of bespoke flash. Seasoned Taylor spotters will also note that the lines of the koa sides are not cluttered with the controls of the Expression System 2 electronics, which have been replaced here by an excellent L.R. Baggs Element VTC system that utilizes controls tucked inside the soundhole.

The Verdict

Though the 814e Koa aspires to 1940s and ’50s American flattop vintageness, it doesn’t always deliver on that count. For the right player, though, the instrument offers a unique and complex voice with a super-wide dynamic range and soft-focus bass and treble tones that temper the midrange. The new glue-free, long tenon neck can be reset fast and inexpensively should that time ever come, which might make the sting of the hefty $4,799 investment feel less risky—at least in maintenance terms. Yep, it’s really expensive. But consider, too, the joys of beholding the 814e Koa’s graceful curves all day—you might be able to justify the cost as a musical instrument as well as art.

Reader: Ed Beauchamp
Hometown: Pawling, NY
Guitar: Danicaster

I’m a guitarist and an art lover with a special interest in the “drip” paintings of abstract expressionist Jackson Pollock, so I was intrigued when I heard about Fender’s limited-edition Splattercaster guitars. These were Mexican-made Strats, whose bodies were placed on a turntable and spun while paint was dripped onto them, similar to the spin art created by children’s toys. There were 500 of these guitars produced between 2003 and 2004, each one unique, and they were priced at $300. Today, these guitars can sell for as much as $2000. My stepdaughter Danielle was an artist, and once while we were having a discussion about art, I showed her pictures of the Splattercasters. She was impressed and agreed that they were very cool instruments.

Tragically, Danielle fell ill and passed away in 2016 at the age of 36. While talking later with her boyfriend, Kris, he mentioned that Danielle had wanted to buy a Splattercaster as a gift for me, which I never knew, but they were too expensive. Never one to give up, Danielle decided she was going to get a guitar and paint it herself. Kris said that she had indeed bought a guitar, but had passed away before she had a chance to do anything with it. I just assumed that it was a toy guitar, or perhaps a ceramic guitar that could be painted, but Kris said that it was a real, full-size guitar, and that Danielle’s intention was to create a playable work of art. He still had the guitar and asked if I wanted it.

It turned out the guitar was one of those $150 Strat DIY kit guitars. I wasn’t sure how playable such an inexpensive guitar would be, but I took the guitar anyway, with the vague idea of somehow completing it. I had no idea how to accomplish that. I’m not a painter, and the thought of even trying to paint it was overwhelming, so I put the box under the bed where it sat for years.

About a year ago, I approached a local artist, John Colantuono, whose work I had seen at local art shows. John is an abstract painter who often employs methods similar to those of Pollock. John said he had never done a project like this, but he was willing to give it a try. I removed the electronics from the pickguard, screwed the pickguard to the body, and gave the body to John. Several months later, John had finished painting the body and it looked amazing! I began to assemble the guitar, and found that the neck that came with the kit was pretty rough, so I substituted a Mighty-Mite replacement neck I had. After assembling and setting up the guitar, I was surprised to find out that not only was it playable, but the action was great, and even the cheap electronics sounded pretty good.

Whenever I play the guitar, or even just look at it, I feel Danielle’s presence. As a tribute to her, I christened the guitar the “Danicaster” and put that name on the headstock. Now, nine years after her passing, the project that Danielle initiated is finally complete, and I’m thrilled. Danielle may not have been able to physically complete the Danicaster, but there is no doubt that her spirit lives on in this instrument. Danielle, we did it!

Orangewood Guitars introduces the Del Sol Baritone, their first electric guitar, designed in collaboration with TreeTone Guitars. Featuring a chambered mahogany body, 27.5" baritone scale, and dual P90 pickups, this unique instrument offers a vintage-style out-of-phase scoop. Available in Pitch Black and Sandstone finishes for $695.00.

Orangewood Guitars has introduced the Del Sol Baritone, the brand’s first-ever electric guitar, designed in collaboration with JoshForest, the founder behind Connecticut-based TreeTone Guitars. This new model blends TreeTone’s signature offset shape aesthetic with Orangewood’s mission to build affordable and performance-ready instruments. This release marks a major milestone for the brand: Orangewood’s first electric guitar and first collaboration with an outside designer since its founding in 2018.

The Del Sol Baritone features a chambered mahogany offset body with a bass-side f-hole, striking an ideal balance between weight and resonance. With a 27.5" baritonescale, it's tuned to B-standard, delivering deep, articulate low-end tones. A pair of passive P90 pickups offers a broad tonal palette—from smooth cleans to gritty growl—while a mini phase switch, active when in the middle pickup position, unlocks a vintage-style out-of-phase scoop.

The guitar is available in two finishes, Pitch Black and Sandstone, and is priced at $695.00.

Key Specs

• Baritone electric guitar with 27.5" scale, tuned to B-standard with Ernie Ball Baritone Slinky Electric Guitar Strings
• Chambered offset body made from mahogany, featuring a bass-side f-hole
• Roasted maple neck with a C-shape profile, rosewood fretboard, jumbo frets, TUSQ nut, and block inlays
• Dual P90 pickups with volume and tone controls, plus a mini toggle phase switch that adds a biting, vintage-style quack
• Grover Roto-Grip Locking Vintage Turners, Tune-O-Matic bridge, and stop tailpiece
• Unique brushed aluminum front control plate and a back neck plate with TreeTone logo

What began as a cross-coastal collaboration evolved into a bold take on an electric—a chambered, baritone-scale guitar that fuses East Coast sensibility with West Coast attitude. “We’ve been fans of Josh’s work for years,” said Eddie Park, co-founder of Orangewood. “His unique vision and attention to detail made him the ideal partner as we entered the world of electrics. After years of conversations, prototypes, and a shared obsession with character and tone, the Del Sol Baritone is finally here. It marks a turning point in Orangewood’s evolution—a fresh, distinctive kind of guitar that feels like the perfect introduction for those that only know us for our acoustics.”

"After working on the first prototype together, it was immediately obvious that we were onto something really cool. Not only did the guitar look like a Del Sol I’d built, but it felt and sounded great, too,” said Josh Forest about the product development. “We went through a couple rounds tweaking the prototype, and the whole collaboration process just felt really natural and fun—like it came together exactly how it was meant to. What excites me most is getting my designs into more players’ hands, which is something I couldn’t make happen all on my own."

The Del Sol Baritone is available now exclusively at orangewoodguitars.com for $695. For more information, please visit treetoneguitars.com.

Wanna talk about rabbit holes? Well, few are deeper or darker than one that awaits when you compare the virtues, shortcomings, and construction peculiarities of Big Muffs. Make no mistake, I love the things. And studying real, audible differences among Big Muff variants is fun. But I would happily take back many hours I’ve spent contrasting Ram’s Head, Triangle, and Sovtek versions, and their clones—all to arrive at the conclusion that they all sound awesome in their own right. One dude that has spent about a million hours dissecting Muff tone minutiae is EarthQuaker Devices founder Jamie Stillman. His efforts to reverse engineer his pal Dan Auerbach’s unique-sounding Sovtek Muff begat the Hoof, which remains among EarthQuaker’s most enduring and successful products.

Just as Auerbach’s Muff possessed a certain something missing in otherwise identical Sovteks, so it was with a Version-6 (V6) Electro-Harmonix Big Muff used by James Murphy of LCD Soundsystem for his band’s fuzz-bass tones. As 40-something pedals will, Murphy’s V6 Big Muff got a bit fussy for tour life, so Stillman and EQD were tasked with crafting a replacement. But like so many vintage pedals that have become notorious and legendary, Murphy’s V6 Big Muff is distinguished by construction inconsistencies that made it a quirky and unique thing.

EQD’s interpretation of this formula—made manifest here in the Chelsea Low End Fuzz Driver—is a Big Muff-style voice that leans more Ram’s Head than Sovtek. In strictly sonic terms, that means lots of grind, presence, and a delectable balance between air and aggression that make the Chelsea soar. Like a vintage V6 Big Muff, it features a tone-bypass switch which removes the tone pot entirely. The midrange-heavy result is appealing and impressive in its own punky way. But the rangeful tone control, and the oxygenated sounds that live in its treblier zones, in particular, are highlights of the pedal’s vocabulary that make it distinctive.

As the “Low End Fuzz Driver” handle and Murphy’s historically bass-oriented usage suggest, the Chelsea’s tone profile is a great tool for crafting gnarly, nasty, bottom-end sounds that have a trace of almost saxophone-like honk and grit on top of mere mass—a sound composite that gives bass and baritone riffs lift and definition. But as sweetly and swaggeringly as the Chelsea gels with bass, guitarists will find it a source of rich and blistering tones, and a distinctive alternative to early Triangle-, Ram’s Head-, and V6-style Big Muff sounds.

EarthQuaker Devices Chelsea Low-end Fuzz Driver Pedal

Low End Fuzz Driver Pedal

Question: What’s your favorite guitar scene in a movie?

Guest Picker
Boyd Holbrook

A: Deliverance. The dueling guitar and banjo scene for me is the most eerie and unique scene ever in a movie. What a wicked movie. Everyone always thinks the film is set in Kentucky. It comes up a lot once people know I’m from Kentucky, but it’s set in Georgia. Maybe it’s the banjo that reminds people of Kentucky.

YouTube

Obsession: I’m obsessed with open-C and open-G tunings right now with Travis-style picking. You can pop and pull all sorts of stuff. My guitar coach, the great Bret Boyer who got me spun up to play Johnny Cash, keeps on blowing my mind with new styles. I think next we’re gonna crack how R.L. Burnside played his sound. That one for me is sacred.

Reader of the Month

Matthew Wang

A: I love Crossroads with Steve Vai and the guitar scenes in the first Back To The Future movie, but I think Nigel Tufnel doing his Rig Rundown in This Is Spinal Tap is the greatest guitar scene in film. It made me want a Les Paul. For the sustain!

YouTube

Obsession: I’m really loving IK Multimedia’s TONEX and u-he’s Zebrify. In terms of other hardware I really want an Industrialelectric RM-1N pedal to make some drones. I’m also obsessively watching video demos of Old Blood Noise Endeavors pedals and really want to get some soon, in particular the BL-44 Reverse.

John Bohlinger
Nashville Correspondent

A: The final guitar duel between Jack Butler (Steve Vai) and Ralph Macchio from Crossroads remains the greatest cinematic contribution to guitardom ever. The year was 1986 and Vai, fueled by incredible innate talent and the blessing of Satan, was kicking Macchio’s ass until Ralph whipped out Niccolò Paganini's Caprice No. 5. Of course, Vai played both his parts and Ralph’s Paganini part while Ry Cooder supplied the funky, swampy slide stuff. It was not a fair fight.

YouTube

Obsession: I’ve been experimenting with different plectrums. It’s amazing how much variety you get from that one tiny ingredient. My current favorite is the V Pick Traditional.

Ted Drozdowski

Editorial Director

A: It’s the outrageous performance of “Stack-O-Lee” by Samuel Jackson in Black Snake Moan. a greasy, nasty nod to ’60s/early ’70s exploitation movies. Jackson’s character, Lazarus Redd, is loosely based on my old friend and mentor R.L. Burnside, and while Redd’s foul-mouthed, murderous rap is totally gangster, the music is authentic Mississippi hill-country blues, anchored by R.L.’s old family rhythm section of his grandson Cedric Burnside on drums and “adopted son” Kenny Brown on guitar. And the juke joint atmosphere is thicker than an alligator’s hide.

Obsession: Amps! Again! Recent guests have included a Friedman Plex, StewMac’s upcoming Valve Factory 18, and an Orange O Tone 40. Just plugging in and cranking up is too much fun!