Premier Guitar

Xvive's P58 Guitar Wireless System features a True Diversity Receiver with a built-in chromatic tuner, True Bypass and Buffered Bypass settings, and a USB-C port for charging. With 5.8 GHz signal stability, 100 feet of wireless range, and low latency, this system is a game-changer for musicians.

Xvive continue to expand their wireless product line, now introducing the P58 Guitar Wireless System, which combines the A58T Transmitter with a combination True Diversity Receiver and chromatic tuner pedal. The Transmitter is borrowed from the A58 Guitar Wireless System, known for its 5.8 GHz signal stability and active/passive modes. But the P58R Receiver adds further functionality, most obviously acting as a high-precision chromatic tuner.

In addition to its key receiving and tuning roles, the P58R Receiver offers both True Bypass and Buffered Bypass settings that help to optimize your signal. Buffered Bypass offsets the deterioration of your high-end when you’re using long cable runs or extra-large pedalboards. True Bypass mode ensures that the tuner doesn’t color your tone or load the signal when bypassed. Since the Receiver is connected to power all the time during use, it’s well-positioned to pass on some of that power to the Transmitter via its USB-C port, for charging between sets as needed! The Transmitter’s onboard battery lasts up to five hours.

The 5.8 GHz band is typically less crowded than 2.4 GHz, since fewer devices use 5.8 GHz; that translates to a lower chance of signal interference. On top of that, the True Diversity Receiver allows you to scan the six available wireless channels and automatically select the strongest, most stable option—further ensuring rock-solid connections.

The A58T Transmitter offers both Active and Passive modes; the Active setting applies a – 10dB pad that prevents unwanted distortion and clipping when you’re playing a guitar or bass with active or high-output pickups. The P58 system boasts 100 feet of wireless range, less than 5 ms of latency, high-resolution 24-bit / 48 kHz audio, and a signal-to-noise ratio of 100 dB.

The P58 Guitar Wireless System is available from all Xvive dealers and online retailers for$249.99 (US MAP). The P58R Receiver/Tuner (which can only be paired with the A58T) isavailable separately for $169.99 (US MAP). The A58T (which can be paired with the A58R orP58R Receivers) sells for $85.00 (US MAP).

For more information, please visit xvive.com/audio.

This Guitar Wireless System Has a Built-In Tuner?! Meet Xvive's New P58! - YouTube

Xvive P58 5.8GHz Wireless Guitar Pedal System

Supro Airwave tube amplifier with Two Notes cabinet simulation technology offers 12 presets of classic Supro tones, analog effects, and digital cabinet emulation. The Torpedo software allows for endless sound sculpting options, with 128 presets available. Register for a free Boutique collection of hot-rod modified Supro cabinets.

Supro introduces the Airwave, an all-new tube amplifier equipped with Two Notes’ cabinet simulation technology. The Airwave delivers the iconic Supro sound along with 12 onboard presets featuring an array of classic Supro cabinet and speaker combinations, selectable directly from the front panel of the amp.

The Airwave combines traditional Supro tube technology and analog effects with a cutting-edge suite of mic’d cabinet emulation software from Two Notes to provide a vast array of modern and vintage sounds in a stage-ready, studio-friendly 25W, 1x12 combo format. The 12AX7 tube-driven preamp of the Airwave features a 3-band EQ along with Boost, Drive, Tremolo, and Reverb, plus a master volume that sets the level of the signal sent to the Class-A 6V6 output tube power section.

"Airwave combines the tone, feel and power of an all-analog tube amplifier with the flexible versatility of digital cabinet and microphone emulation. This hybrid approach of integrating a software controllable stereo DI with an on-board guitar speaker that can be muted creates a best-of-all-worlds solution for both live performance and studio recording,” says David Koltai, CTO at Bond Audio

Augmenting the capabilities of the analog circuitry of the Airwave, the onboard Two notes digital stereo DI solution delivers mic’d speaker cabinet emulation with its own comprehensive range of control options. A 6-way rotary switch on the front panel selects between different Supro cabinet emulations—both vintage and modern—ranging from our smallest 1x8 combos up through 1x10, 1x12, 2x12 and 1x15 models, all captured in meticulous detail with a selection of eight different microphones and multiple spaces to choose from via the accompanying software. A custom Group A / Group B illuminated touch switch allows players to easily toggle between a bank of six vintage cabinets and six modern cabinets, for a total of twelve customizable presets. In addition to microphone selection, players can tailor tone by changing mic positioning, EQ, reverb and room emulation and stereo twin-tracking effects.

"Working with the Two Notes team to capture impulse responses from so many of our favorite cabinet and speaker pairings—both vintage and modern—and then hearing them in tandem with the tone of the Airwave itself was like witnessing magic, " says Ryan Kershaw, EVP of Product Development at Bond Audio. "We knew we had something special on our hands, but I think everyone who worked on this project was genuinely blown away by the results. Players are going to be able to get an infinite number of inspiring tones out of the Airwave."

The Airwave’s state-of-the-art Two Notes DynIR cabinet and microphone modeling system can be connected to a DAW or FOH console via a stereo pair of XLR outputs on the rear panel. A parallel ¼” headphone output is also available for personal monitoring. The on-board 12” speaker can also be muted while still allowing the 12AX7 tube preamp stage and the dual 6V6 tube output stage to feed the mic’d cabinet emulation outputs for studio recording applications or when performing with in-ear monitors in a silent stage situation.

With Airwave’s onboard Torpedo processing, we take care of all speaker and microphone modeling, placing the guitarist in a virtual studio environment. This allows us to dial in the best possible tone from Airwave itself—whether you're sending it to a DAW or plugging in headphones. You can push the amp to its sweet spot with zero external volume, and enjoy the full playing experience silently, right at home."— Guillaume Pille, CEO, Two Notes

Simple to set up and easy to use, a total of 128 individual presets and a host of additional software features can be accessed by running the Two Notes Torpedo application via USB-C connection for PC and MAC or wirelessly via Bluetooth on Android and iOS devices. This custom software package unlocks even more sound sculpting options, letting you manipulate virtual mic positioning, adjust EQ, and add room reverb as well as stereo twin tracking to the DI outputs. User presets can be saved directly to the Airwave amp or to a digital device for future recall.

As a bonus addition to the vintage and modern collections that are pre-loaded onto the Airwave, a third, Boutique collection of hot-rod modified Supro cabinets can be downloaded for free when you register your Airwave on the Two notes website.

Within the pre-loaded factory presets, players have access to emulations of iconic cabinets such as the modded 1959 Supro Coronado made famous by Jimmy Page on Led Zeppelin I, an original Valco-era Oahu 1x10, and Phil X's own custom Super 108. “The Phil X Super 108 cabinet emulation from Two notes was one of the critical pieces of inspiration that led to the creation of this ground-breaking new Supro amp," says Koltai. "We're honored that Phil allowed us to use his fantastic sounding cabinet capture as Preset #1 in the Airwave.”

MAP $1499

For more information, please visit suprousa.com.

Supro Airwave Official Demo - YouTube

Supro Airwave tube amplifier with Two Notes cabinet simulation technology offers 12 presets of classic Supro tones, analog effects, and digital cabinet emulation. The Torpedo software allows for endless sound sculpting options, with 128 presets available. Register for a free Boutique collection of hot-rod modified Supro cabinets.

Supro introduces the Airwave, an all-new tube amplifier equipped with Two Notes’ cabinet simulation technology. The Airwave delivers the iconic Supro sound along with 12 onboard presets featuring an array of classic Supro cabinet and speaker combinations, selectable directly from the front panel of the amp.

The Airwave combines traditional Supro tube technology and analog effects with a cutting-edge suite of mic’d cabinet emulation software from Two Notes to provide a vast array of modern and vintage sounds in a stage-ready, studio-friendly 25W, 1x12 combo format. The 12AX7 tube-driven preamp of the Airwave features a 3-band EQ along with Boost, Drive, Tremolo, and Reverb, plus a master volume that sets the level of the signal sent to the Class-A 6V6 output tube power section.

"Airwave combines the tone, feel and power of an all-analog tube amplifier with the flexible versatility of digital cabinet and microphone emulation. This hybrid approach of integrating a software controllable stereo DI with an on-board guitar speaker that can be muted creates a best-of-all-worlds solution for both live performance and studio recording,” says David Koltai, CTO at Bond Audio

Augmenting the capabilities of the analog circuitry of the Airwave, the onboard Two notes digital stereo DI solution delivers mic’d speaker cabinet emulation with its own comprehensive range of control options. A 6-way rotary switch on the front panel selects between different Supro cabinet emulations—both vintage and modern—ranging from our smallest 1x8 combos up through 1x10, 1x12, 2x12 and 1x15 models, all captured in meticulous detail with a selection of eight different microphones and multiple spaces to choose from via the accompanying software. A custom Group A / Group B illuminated touch switch allows players to easily toggle between a bank of six vintage cabinets and six modern cabinets, for a total of twelve customizable presets. In addition to microphone selection, players can tailor tone by changing mic positioning, EQ, reverb and room emulation and stereo twin-tracking effects.

"Working with the Two Notes team to capture impulse responses from so many of our favorite cabinet and speaker pairings—both vintage and modern—and then hearing them in tandem with the tone of the Airwave itself was like witnessing magic, " says Ryan Kershaw, EVP of Product Development at Bond Audio. "We knew we had something special on our hands, but I think everyone who worked on this project was genuinely blown away by the results. Players are going to be able to get an infinite number of inspiring tones out of the Airwave."

The Airwave’s state-of-the-art Two Notes DynIR cabinet and microphone modeling system can be connected to a DAW or FOH console via a stereo pair of XLR outputs on the rear panel. A parallel ¼” headphone output is also available for personal monitoring. The on-board 12” speaker can also be muted while still allowing the 12AX7 tube preamp stage and the dual 6V6 tube output stage to feed the mic’d cabinet emulation outputs for studio recording applications or when performing with in-ear monitors in a silent stage situation.

With Airwave’s onboard Torpedo processing, we take care of all speaker and microphone modeling, placing the guitarist in a virtual studio environment. This allows us to dial in the best possible tone from Airwave itself—whether you're sending it to a DAW or plugging in headphones. You can push the amp to its sweet spot with zero external volume, and enjoy the full playing experience silently, right at home."— Guillaume Pille, CEO, Two Notes

Simple to set up and easy to use, a total of 128 individual presets and a host of additional software features can be accessed by running the Two Notes Torpedo application via USB-C connection for PC and MAC or wirelessly via Bluetooth on Android and iOS devices. This custom software package unlocks even more sound sculpting options, letting you manipulate virtual mic positioning, adjust EQ, and add room reverb as well as stereo twin tracking to the DI outputs. User presets can be saved directly to the Airwave amp or to a digital device for future recall.

As a bonus addition to the vintage and modern collections that are pre-loaded onto the Airwave, a third, Boutique collection of hot-rod modified Supro cabinets can be downloaded for free when you register your Airwave on the Two notes website.

Within the pre-loaded factory presets, players have access to emulations of iconic cabinets such as the modded 1959 Supro Coronado made famous by Jimmy Page on Led Zeppelin I, an original Valco-era Oahu 1x10, and Phil X's own custom Super 108. “The Phil X Super 108 cabinet emulation from Two notes was one of the critical pieces of inspiration that led to the creation of this ground-breaking new Supro amp," says Koltai. "We're honored that Phil allowed us to use his fantastic sounding cabinet capture as Preset #1 in the Airwave.”

MAP $1499

For more information, please visit suprousa.com.

Supro Airwave Official Demo - YouTube

Introducing the BOSS Effects Pedals plug-in from Roland Cloud, bringing the iconic sound of BOSS compact pedals to your computer music production. With faithful recreations of classic models like the DS-1 Distortion and OD-1 OverDrive, this plug-in offers premium processing for guitar, bass, keyboards, vocals, and more.

Roland announces the BOSS Effects Pedals plug-in, the latest classic software effect available on Roland Cloud. Since debuting in 1977, the colorful BOSS compact pedal lineup has been loved by generations of musicians. The BOSS Effects Pedals plug-in brings the authentic BOSS compact pedal experience to computer music production for the first time, delivering premium processing for guitar, bass, keyboards, vocals, and beyond.

BOSS, Roland's guitar products division, is well known for its expansive lineup of compact pedals. They’re used by everyone from beginners to professionals, and numerous legends have relied on various models for their signature sounds and the creation of the greatest recordings of all time. To date, over 140 unique BOSS compact pedal models have been produced, well over 19 million units have been sold, and many have remained in continuous production for decades.

The BOSS Effects Pedals plug-in can be loaded with one effect at a time from an onboard library. Each delivers the genuine sound and response of the pedal it’s based on, faithfully recreated by the same company that developed the original designs. The friendly interface mirrors the simple operation of the hardware, providing fast access to great tones. Extended features are also available, including input and output controls for dialing in levels and tempo sync for time-based effects.

The initial launch of the BOSS Effects Pedals plug-in features eight of the most famous BOSS pedals: the OD-1 OverDrive, PH-1 Phaser, SP-1 Spectrum, SG-1 Slow Gear, CS-1 Compression Sustainer, TW-1 T Wah, SD-1 SUPER OverDrive, and DS-1 Distortion. Over time, the core library will be populated with an ever-expanding selection of models derived from the historic hardware lineup.

The BOSS Effects Pedals plug-in is available with Roland Cloud Ultimate membership, which new users can try for free with a 30-day all-access trial. Signing up for a free Roland Account provides access to a function-limited demo version for evaluating the plug-in without signing up for membership.

Roland Cloud is also home to a universe of creative tools for computer-based music production, including JC-120 Jazz Chorus and RE-201 Space Echo plug-ins, software versions of vintage Roland instruments, ZENOLOGY, Sound Packs, Wave Expansions, GALAXIAS, Zenbeats, and much more.

For more information, please visit roland.com.

The all-star producer invites John Bohlinger to his home studio for a glimpse of his most treasured gear.

Veteran producer and behind-the-scenes guitar superstar Dann Huff released his debut solo album, When Words Aren’t Enough, on May 30, but his career began long before that. He’s been making records and playing guitar for roughly 50 years, working with everyone from Taylor Swift to Rodney Crowell to Michael Jackson.

His home studio is where the magic happens, and for this Rig Rundown, he invited PG’s John Bohlinger over to talk about his career, his new record, and the best bits of gear he’s played along the way. Keep an eye out for our feature on Huff online and in our August print issue.

Brought to you by D’Addario.

Old Faithful

Huff had hardly played this 1964 Fender Stratocaster for 20 years when he walked by it before recording his latest solo album and deciding it was time to reconnect. It was heavily modded by builder James Tyler.

The lower tone knob is also a push-pull switch to modify the pickup configurations; the middle tone knob is a mid-boost circuit, which can be toggled on or off with a push-pull function; and the volume pot is, well, just a volume pot. Huff explains the series of three switches, each assigned to one of the three pickups: “Down is louder, up is softer.”

Tyler Tone

This James Tyler Strat, built specially for Huff by Tyler, is an exacting copy of his ’64 Strat, complete with Tyler’s signature mods.

Revv Your Engine

Derek Eastveld, owner of Winnipeg, Manitoba-based amp company Revv, brought this Dynamis D40 head for Huff to try out, and it clicked instantly; Huff wrote a song on it for his solo record. It runs through a Little Walter 2x12 open-back cabinet.

Dann Huff’s Pedalboard

Huff doesn’t need a spaceship to get where he needs to go. Along with a TC Electronic PolyTune and a Lehle volume pedal, he runs a Vertex Effects Steel String (Slight Return Edition), Vertex Ultraphonix Mk II, Boss SD-2, TC Electronic Corona, Boss VB-2w, Mr. Black SuperMoon, Strymon Brigadier, and Line 6 M9 Stompbox Modeler.

Revv D40 Amp

Imagine you’re a well-heeled guitar collector. A dealer pops open a case to reveal this stunning beauty of a 1968 Gibson SG Custom. Its aura is world-historically cool. It must be something special. “Is that,” you think, “an original Pelham blue finish? A factory Bigsby?”

You can hardly contain yourself as it is. The gold hardware has a patina befitting its age. The period-correct nylon saddles are in great shape (“A few have been replaced? No big deal”). And then, the dealer says, “You know, there’s exactly a 50 percent chance that Jimi Hendrix played this.” Well, as Dirty Harry said, “You've gotta ask yourself a question: ‘Do I feel lucky?’”

Such is the dilemma for wealthy guitarists around the world, especially, we can imagine, the left-handed ones.

Because this ’68 SG Custom—or its twin sibling, the second of only two ever built with these same specs—has been traced back to a legendary jam session with Jimi Hendrix, B.B. King, and Elvin Bishop. And it’s recently been unearthed and listed for sale by Reverb seller Imperial Vintage Guitars for the sum of $395,000, with as much evidence of its provenance as possible.

There are photographs that show Jimi playing such a guitar that night. The late photographer’s brother has written a letter about the photographer’s career, his relationship with the guitarist, and original prints of that fateful jam.

And Matt Koehler—Gibson’s vice president of product and one of the company’s most avid, archive-diving history buffs—has signed a letter confirming that this is one of two never-replicated, left-handed, Bigsby-equipped, Pelham blue SG Customs that Gibson ever built in this period.

Shipped out within a few days of each other in May 1968, Koehler writes, “The two guitars were definitely related, and this combination of features does not appear anywhere else in our ledger books.”

So, what does that mean to the would-be buyer? If it were a hand of poker, we could call this ultra-rare vintage Gibson a flush, no matter what becomes of the extra provenance. As Imperial Vintage Guitars writes in its listing, “643 Les Paul Standards were made in 1959. Only two of these SGs were ever made, period. This guitar may not be as popular as a 1959 Les Paul, but it’s certainly more rare!”

If it’s the one Hendrix played, that makes it a whole lot rarer yet. That turns our flush into a royal flush.

Let’s step back and assess the guitar in front of us: It is, of course, a three-humbucker SG Custom. Those humbuckers, given the year, are not Patent-Applied For (PAF) pickups, but Patent No. instead.

They’re embedded in the middle of a batwing pickguard (which, as the evolution of the angel wing design, debuted in 1966). The larger batwing allowed Gibson to drop the independent pickup rings and tenon cover found on earlier models.

Looking up the neck, you’ll see large, block mother-of-pearl inlays and the diamond headstock inlay that helped these SG Custom models stand out from their more affordable SG Standard counterparts. Turn it around and it does not have the peak of a neck volute found on models from the very late ’60s and early ’70s.

“This ’68 SG Custom—or its twin sibling, the second of only two ever built with these same specs—has been traced back to a legendary jam session with Jimi Hendrix, B.B. King, and Elvin Bishop.”

Add to this the aforementioned factory Bigsby, custom finish, and left-handed build, and you’ve got yourself a truly one-of-a-kind guitar. Or, rather, two-of-a-kind. Which is quite the conundrum when it comes to valuing the guitar.

On one hand, 1960s SG Customs are all valuable. These were high-end models created during the Golden Age of Gibson, after all. (In ’68, this special order would have been a bit north of production-model SG Customs, which went for $495.) But while more rare than the burst-year Les Paul Standards, they haven’t appreciated anywhere near as much in value.

No ’60s SG Custom with such rare features or historic provenance has ever sold on Reverb. What we do know is that the more standard-fare of this classically tony line will go between $7,000 and $25,000. How much more valuable is a one- or two-off custom combination of specs? Well, “more,” would certainly be a fair answer.

But there’s an order of magnitude of difference between this and the territory reserved by original bursts (which can easily fetch half a million or more), or, for that matter, the larger-than-life sums paid in recent years for celebrity-played guitars, like Kurt Cobain’s “Unplugged” Martin D-18 ($6 million) or his “Smells Like Teen Spirit” Mustang ($4.55 million), Eddie Van Halen’s “Hot For Teacher” Kramer, or David Gilmour’s Black Strat ($3.9 million).

In this context, the $395,000 asking price almost splits the difference between a “regular” SG Custom of its era and a guitar owned by a world-renowned artist. So the question of whether Jimi Hendrix actually played this SG or not becomes incredibly relevant, one way or another.

So, well-heeled collector, ask yourself again: “Do I feel lucky?” Well, do ya punk?

One lucky winner will receive a KERNOM RIDGE, the innovative analog morphing drive pedal that transforms how you shape your tone. The giveaway runs through June 24, 2025. Enter now for your chance to win.

Hear it in action!

Struggling to find the perfect overdrive? Whether you need a clean boost, a transparent overdrive, or high-gain distortion, RIDGE gives you a seamless spectrum of tones—all in one pedal.

From Klon-like transparency to Tube Screamer warmth, from bluesy edge-of-breakup tones to modern high-gain saturation, RIDGE eliminates the need for multiple pedals. Dial in your perfect drive with the MOOD knob.

RIDGE - Multi overdrive

KMA Machines GEMINUS is a compact pedal featuring True Double Tracker technology for adding width and fatness to your performances. With stereo or mono connections, flexible signal routing, and precise controls, GEMINUS is the perfect solution for doubling your riffs. Experience the best sounding doubler with ease of use.

The first outing for KMA’s unique and custom AI driven True Double Tracker technology was in the ENDGAME, our powerhouse end-of-chain pedal. We designed our dead-simple-to-use, TDT Algorithm in ENDGAME to be as authentic to the doubling recording process as possible, but we realise that not everybody needs all the bells and whistles of such an all-encompassing device. However, the processing power requirements required for TDT meant a simpler device wasn’t yet possible. But as demand from the community grew, our team worked hard to squeeze it down and make it happen.

So, meet GEMINUS - all of KMA’s True Double Tracker goodness in a compact pedal that’s suitable for any board. Whether playing live or recording with a single instrument, GEMINUS is the perfect solution for adding “fatness” and “width” to your performances - it really does feel like you are playing the same riff twice!

KMA Machines GEMINUS - Stereo True Double Tracker - YouTube

Main Features

• Stereo True-Double-Tracker (Proprietary Doubler) pedal
• Width Knob, provides control over the stereo field
• Stereo or Mono connections on TRS jacks
• Flexible signal routing (selectable Stereo or Mono In/Out)
• Time, Pitch and Level controls, for precise TDT tailoring
• Compact enclosure with top-mounted jacks - will fit into any setup
• Switchable True/Buffered Bypass*
• ‘Silent’ relay-based soft switching
• Premium analog electronics• 32 Bit internal processing
• Powered by (opt.) 9 V DC PSU (centre -, 2.1mm, ~ 100 mA current draw, not included)

Enabled via the soft bypass footswitch, GEMINUS accurately replicates the minor differences that exist between two separate recordings. The TDT WIDTH control spreads your doubled tracks, anywhere from completely centred (0%) to 50% left and right (centre indent) and 100% left and right split.

KMA has carried out extensive research on how to make double tracking sound exactly how we think it should perform. In the process, we’ve spent thousands of engineering hours working on our own proprietary technology, even developing our own custom neural network AI with onset detection in the process for our algorithms.

The mode for the TRS input and output jacks is selected by the toggle switch. You can choose between stereo in and out, mono in and stereo out or mono in to mono out, so no matter your signal and tonal desires, GEMINUS will fit into your rig with ease.

For the most accurate performance (and just like the real double tracking scenario in the studio), our custom True Double Tracker algorithm should ideally be fed with a mono signal. Obviously if you are trying to emulate what traditionally happens in the studio, you wouldn’t normally double up a stereo source. Having said that, our TDT algorithm has been optimised to still have a useful and very pleasing widening effect on stereo input signals, just take care that using too much doubling on some stereo sources may cause your carefully crafted reverb, delay or other modulation effects to turn to mush or even add phase issues.

To help tailor the Doubling to your own taste, the TIME control changes the timing range of the doubled AI-driven onset detection. Essentially, it’s all about the tightness of the doubled signal to fit differing playing styles. Variable from an extra tight mode, that’s perfect for extra fast riffs, to a looser timing that can just the right amount of density to more open playing styles, this control is a powerful weapon to make your riffs fit your musical goals. The centre detent is GEMINUS’ default factory position, but turning the knob left will give a tighter feel. Crank the knob to the right and the doubled signal becomes much more relaxed.

While the LEVEL control affects the balance of the doubled signal against the original source. Useful for those times where you might want maximum width, but a little less (or even more) of the sound to be doubled against the original. Centre detent of the knob is GEMINUS’ default factory position. There’s some clever panning stuff going on under the hood here too, so neither the doubled or original signal is louder on one side or the other, when in Stereo.

Finally, the new PITCH selector switch can add some additional movement to your doubled signal, extending the usefulness of GEMINUS beyond standard doubling. When the switch is at the centre default position (-) there is no pitch adjustment, (~) adds some subtle modulation, while (≈) adds even more wobble. In this mode, it doesn’t mean that your second guitarist will sound like they are off on a quest for enlightenment all on their own (!), it is just super handy for those times when you want more chaos and instability in your ensemble.

To top it all off, we’ve added a switchable real True/Buffered bypass and ‘silent’ relay-based soft switching. When we were testing our new pedal platform, we really loved the clarity and signal integrity of KMA’s Buffered Bypass, plus there are zero clicks and pops when switching in this mode, which is why it is the recommended and default mode on shipping. However, we know some players have some special devices like extra fussy vintage fuzz pedals and the like, so we added the ability to select True Bypass mode via an internal dip switch (*see the Quick Start Guide for more details).

Phew, seems that there’s quite a lot going inside GEMINUS then. We believe our True Double-Tracker in this pedal is the best sounding, yet easiest to use doubler you’ll ever play - period.

Go forth and multiply your riffs!

MAP: $269

For more information, please visit kmamachines.com.

The Limited Edition Mark Speer Stratocaster® features DiMarzio® Pro Track™ pickups, while the Laura Lee Jazz Bass® Boasts Dimarzio Ultra Noiseless Jazz Bass Pickups and Vintage-style Chrome Covers

Today, Fender Musical Instruments Corporation (FMIC) is proud to announce the Limited Edition Mark Speer Stratocaster® and Limited Edition Laura Lee Jazz Bass® from the iconic band, Khruangbin. For the first time in its nearly 80-year history, Fender is introducing a signature bass and signature guitar for the same band, released simultaneously.

Known for their psychedelic melodies and a genre-blending sound that draws from funk, rock, and soul, Khruangbin has carved out a distinct musical identity. The breakthrough trio—bassist Laura Lee, guitarist Mark Speer, and drummer Donald “DJ” Johnson Jr.—is celebrating their 10th anniversary of the band's debut album, The Universe Smiles Upon You; to mark the milestone, the band is teaming up with Fender for something truly special. Fender® guitars have been a core part of the band’s sound since its inception, shaping the tones that define their music. Designed to capture the essence of a decade’s worth of tone, style, and innovation, these guitars invite musicians to carve out sonic paths while channeling the sound that helped define a generation.

Khruangbin | Fender Signature Sessions | Fender

“Khruangbin is a band that has made a huge mark on modern music—they blend cultures, genres, and eras into something entirely their own,” said Justin Norvell, EVP of Product at Fender. “Mark and Laura had built their trademark sound with some unique specs and features on their primary instruments and with these signature models, we wanted to be able to share that with the universe of musicians and fans.”

Drawing from a wide palette of worldly influences, Mark Speer’s innovative guitar playing with Khruangbin has established him as one of the most original and distinctive guitarists of his generation. The music is a stunning mix of psychedelia, soul, rock, and country with all of Mark’s smooth, reverb-drenched riffs and melodies played on a single guitar: the same original Fender® Stratocaster® he’s played since the band's inception.

The guitar looks as good as it sounds, with an Aged Natural finish over a custom contoured ash body, and distinctive all-white hardware. DiMarzio® Pro Track™ pickups in the neck and bridge deliver vintage humbucker tones, while the 70’s Fender® Stratocaster® middle pickup gives the guitar an even wider range of tonal options. The Custom “C”-shape neck with a 7.25” radius and 21 jumbo frets offers a comfortable feel, while the vintage-style synchronized tremolo provides classic Strat® vibrato action. Finally, Graph Tech® saddles and string trees increase harmonic content and improve tuning stability.

“This guitar is the easiest way for me to get the musical idea from my head, out into the world,” said Mark Speer. “I know this thing inside and out, the sounds it can make, and the textures I can achieve. It’s like becoming really familiar with your paintbrush.”

Laura Lee’s warm and inventive basslines have propelled Khruangbin albums into the Top 40 in the U.S. and even higher around the world. Armed with a Jazz Bass®, her unique playing style mixes classic-era basslines with funk, soul, country, and surf rock to create something completely distinctive and raw.

Finished in classic Vintage White, with stunning chrome appointments, this bass is an eye-catching instrument tailored to meet Laura Lee’s aesthetic and tonal design choices. DiMarzio® Ultra Jazz™ pickups provide deep lows, percussive highs, and rich harmonic overtones that help define Laura Lee’s sound. Vintage-style concentric volume/tone knobs for each pickup allow complete control over your sound. The Custom “U”-shape neck is topped with a rosewood fingerboard with a 9.5” radius and 21 jumbo frets, providing a comfortable, unique feel just like Laura’s original bass.

“A lot of the features on my bass look vintage, but they function in a modern way. We've been trying to cultivate our music to feel classic and timeless, really. To me, the look and feel of this instrument is the same — it just sounds better the more you play it,” said Laura Lee.

The Limited Edition Mark Speer Stratocaster® and Limited Edition Laura Lee Jazz Bass® each carry a $1,499.99 street price. For mor information visit fender.com.

Limited Edition Mark Speer Stratocaster®

($1,499.99 USD, €1,599 EUR, £1,349 GBP, $2,499.00 AUD,¥220,000 JPY) Drawing from a wide palette of worldly influences, Mark Speer’s innovative guitar playing with Khruangbin has established him as one of the most original and distinctive guitarists of his generation. The music is a stunning mix of psychedelia, soul, rock, and country with all of Mark’s smooth, reverb-drenched riffs and melodies played on a single guitar: his original Fender Stratocaster®.

Finished in a beautiful natural ash and furnished with upscale features, this guitar looks as good as it sounds. DiMarzio® Pro Track™ pickups in the neck and bridge deliver vintage humbucker tones, while the 70’s Fender® Stratocaster® middle pickup gives the guitar an even wider range of tonal options. The Custom “C”-shape neck with a 7.25” radius and 21 jumbo frets offers a comfortable feel, while the vintage-style synchronized tremolo provides classic Strat® vibrato action. Finally, Graph Tech® saddles and string trees increase harmonic content and improve tuning stability. Whether you’re aiming to capture Mark Speer’s signature sound or seeking a Stratocaster® with custom upgrades, the Mark Speer Stratocaster® is sure to thrill any guitar enthusiast.

Limited Edition Laura Lee Jazz Bass®

($1,499.99 USD, €1.699,00 EUR, £1,399 GBP, $2,499.00 AUD, ¥253,000 JPY) Laura Lee’s warm, pulsing, and inventive basslines have propelled Khruangbin albums into the Top 40 in the U.S. and even higher around the world. Armed with a Jazz Bass®, her unique playing style mixes classic-era basslines with funk, soul, country, and surf rock to create something completely distinctive and raw.

Finished in a classic vintage white with stunning chrome appointments, this bass is an eye-catching instrument tailored to meet Laura Lee’s aesthetic design choices. Loaded with DiMarzio® Ultra Jazz™ pickups, this bass has deep lows, percussive highs, and rich harmonic overtones that help define Laura Lee’s sound. Vintage-style concentric volume/tone knobs for each pickup allow complete control over your sound. The Custom “U”-shape neck is topped with a rosewood fingerboard with a 9.5” radius and 21 jumbo frets, providing a comfortable, unique feel just like Laura’s bass. With its classic Jazz Bass® controls, chrome hardware, and upgraded DiMarzio pickups, this bass will help you stand out on any stage.

For years, the studio monitor has been the holy grail of mixing setups—treated rooms, perfectly placed monitors, and that elusive sweet spot. But what happens when you're on the move, working from home, or simply don’t have access to a tuned room? This is where high-quality headphones not only come in handy—they can be powerful mainstays in your workflow. Fortunately, we’re living in a golden age of headphone technology, where top-tier listening experiences are no longer tied to physical speaker systems or acoustically perfect environments.

There are several core benefits to working with headphones—especially when it comes to critical listening, portability, and budget efficiency.

Forensic Detail

One of the first things you'll notice when you start mixing on high-quality headphones is how much easier it is to hear subtle problems in your mix. Low-end muddiness, harsh sibilance, resonant frequencies, and overly wet reverbs—these details can get masked or skewed by reflections in an untreated room. With headphones, you’re hearing a direct feed of your mix, free from the room’s influence.

This level of forensic detail is especially useful when performing tasks like EQ cleanup, editing, or automation. You’ll be able to focus on problematic areas with more confidence, especially in the early stages of mixing when clarity is crucial.

Always in the Sweet Spot

Unlike speakers, which rely on proper room placement and listener positioning, headphones keep you permanently in the sweet spot. Whether you’re leaning back in a chair, lying on a hotel bed, or sitting in a quiet café with a laptop, you're still getting a centered, consistent stereo image and frequency response—a massive advantage for many mixers who don’t have access to ideal monitoring conditions.

Freedom From the Room

If your mix decisions are being influenced by poor room acoustics, you’re already starting from behind. Treating a room properly can be expensive, time-consuming, or impossible if you rent or are constantly moving. Headphones eliminate this variable almost entirely. When you mix on headphones, you’re not at the mercy of reflections, standing waves, or bass traps.

Especially for beginners, headphones offer a more reliable environment to learn in. You’ll be training your ears to hear the actual mix, rather than the room’s response to it.

Mixing on the Move

I learned this lesson the hard way—by necessity. While traveling frequently, I couldn’t count on consistent studio access. So, I started bringing two pairs of headphones with me everywhere: the Audio-Technica ATH-M50x ($149 street) for closed-back isolation and punchy midrange, and the Sennheiser HD650 ($499 street) for open-back transparency and spaciousness.

These two became my mobile studio, whether I was mixing on a tour bus, in a hotel, or grabbing a few hours between flights at an empty gate. The proof came when I got back home: I’d pull the mixes up on my main monitors, and they would hold up—often needing only minor tweaks (still critical). It was an empowering realization that I didn’t always need to be tethered to a room to do meaningful, professional work.

Reference Still Matters

Even with great headphones, referencing is still a key part of the process. Once I’ve done the bulk of a mix on headphones, I always check it on loudspeakers to make sure the low end translates, the stereo image isn’t overly wide, and there’s no listener fatigue.

You should also reference your mix against other commercial tracks—ideally in the same genre—on your headphones to calibrate your expectations and better understand how your mix sits in context.

The Budget Advantage

Let’s talk about money. If you’ve got less than $500 to spend and you’re deciding between entry-level monitors or professional headphones, go for the headphones. A great pair of cans will serve you far better than cheap monitors in an untreated room.

And if you’re curious about expanding your collection or exploring other options, keep an eye on other reputable brands like Neumann, Beyerdynamic, and Sony.

Each of these brands has a range of models catering to different budgets and tonal preferences, from analytical studio response to more musical listening curves. That said, it’s best not to get lost in specs—pick something with proven reliability and learn its sound inside and out.

As long as you’re mindful of your mix decisions, check your references, and develop an intimate familiarity with your headphones, you can make world-class mixes from virtually anywhere.

So, next time you’re packing your gear bag, don’t underestimate what a great pair of headphones can do for your mix. They might just be the most important investment you make.

Sharing with you David Byrne's new (yet to be announced) album coming this September 5th- his first in 7 years! Who Is The Sky? is produced by Kid Harpoon, and in addition to being incredible, it’s the exact antidote for the times. It’ll be out Sept 5th on his new label Matador Records and will be announced on June 10th along with a world tour.

The album builds upon the themes laid out by American Utopia, the album and tour but more specifically spelled out by the Broadway show and subsequent film. With this offering, David continues his exploration of human connection, optimism, and the potential for societal unity against the chaotic backdrop of the world. Who Is The Sky? is particularly cinematic, humorous and joyful but often with a lesson baked in. But most importantly, the songs are so David Byrne - they ride the razor's edge of avant-garde and accessible pop.

Since releasing his last solo album American Utopia over 7 years ago, David’s already iconic profile has risen even more. American Utopia went on to be a Broadway show and Spike Lee-directed film for HBO. He received his second Oscar nomination (he won for his work on “The Last Emporer”) for his song for “Everything Everywhere All At Once” with Mitski and performed at the ceremony. Talking Heads’ “Stop Making Sense” was re-released by A24, bringing a whole new generation of fans to what many call the best concert film of all time. David and Fatboy Slim’s musical Here Lies Love, also made it to Broadway. And hopefully you saw David's recent performance with Robyn at SNL 50 - was such an incredible time!

If you were to only know about one country guitarist, you’d want to know about Chet Atkins. On this episode, we’re talking about the man people called “Mr. Guitar”—the Country Gentleman himself—and how he developed his style and transformed the way we approach our instrument.

Atkins’ recognizable eloquent sound is full of punchy bass notes, jazzy chords, cascading righthand patterns, and cleanly articulated melodies, and it can be heard all over the history of electric guitar music. How did he create his style? How can you fake it on your own? And was Chet Atkins responsible for the second most popular signature model guitar of all time?

Halestorm announces new album "Everest" and fall tour with Lindsey Stirling and Apocalyptica. Produced by Dave Cobb, the album explores the band's journey with deep lyrics and epic musical detours. "Darkness Always Wins" is the first single impacting Active Rock radio.

Halestorm, the GRAMMY-winning band initially formed by siblings Lzzy and Arejay Hale with guitarist Joe Hottinger and bassist Josh Smith, have announced Everest, their sixth studio album out August 8 on Atlantic Records. Today the band also announced the “nEVEREST Duality tour,” a US/Canada tour this fall with Lindsey Stirling and supported by Apocalyptica. Tickets go on sale this Friday, May 2 at 10 AM local time.

Last week, the band offered a glimpse of Everest with “Darkness Always Wins,” the first song to be revealed from the upcoming collection. The song teases an album, produced by GRAMMY winner Dave Cobb (Brandi Carlile, Chris Stapleton, Jason Isbell), that dives deeply, both lyrically and sonically, into the band’s mountainous climb over the last couple decades.

“Our album Everest is a story of our journey as a band, full of beautiful endings and new beginnings,” says Halestorm frontwoman Lzzy Hale. “We weave a tangled web of melancholy, frustration, anger and the vast purgatory of love and love lost. It is a rollercoaster of epic musical detours, great songwriting and completely unhinged twists and turns. Everest is an auditory representation of the 4 pillars of Halestorm. Let us reintroduce ourselves and invite you into our world…if you dare.”

Rolling Stone said of “Darkness Always Wins,” "What the song has going for is its catchy, brooding, and dramatic in all the ways we love Halestorm songs to be,” and Revolver noted "The arrangement remains lean even as the amps begin to crank into the red, though ‘Darkness Always Wins’ still sports some exquisite minor-key melodicism, a metal-chunked bridge, loud-as-hell requiem bells and a classically rippin’ rock guitar solo."

“Darkness Always Wins” impacts at Active Rock radio this week, but already debuted as the “Greatest Gainer” at the format with early airplay last week.

The newly announced nEVEREST tour follows an epic run first supporting Iron Maiden in Europe and dates with Volbeat in the US with a one night-only-performance at Black Sabbath’s final show in Birmingham, England. See below for a full list of upcoming dates.

For more information, please visit halestormrocks.com.

It’s easy to characterize Chase Bliss' Joel Korte and “Analog” Mike Piera as pedal-designer opposites. Piera’s work is rooted in understanding what makes great vintage circuits special and building improved, refined, better-quality versions. Korte is often a maximalist (many sounds, many knobs, many possibilities) and an envelope-stretching modernist (unorthodox tones, digital control). But the two builders share much in common. Both are gifted designers, and each is tireless—perhaps obsessive—about chasing specific sounds. The intersections in their methodologies are embodied in the Brothers AM, a Chase Bliss/Analog Man collaboration based on the scarce and much-coveted Analog Man King of Tone dual-gain device.

The Brothers AM nails the creamy, clear, and agreeable essence of the KOT—at least what I know of it. Like many of you, I do not own a KOT and rely on the effusive raves from fellow musicians and what I’ve heard live and in the video sphere. But you don’t need a KOT to hear how good the Brothers AM is. It’s an excellent drive pedal by any comparison. The seamlessly integrated dual-circuit design means it moves readily from very subtle to very vicious tones. It’s even more versatile than its inspiration, thanks to the inclusion of an addictive, dynamite 2-position treble booster and DIP switches that expand the pedal’s tone palette and control options.

Rock-Solid Foundation

The original King of Tone pedal was inspired by a modded Marshall BluesBreaker which an Analog Man client bought as a less-compressed, less-midrangey Ibanez TS9 alternative. By the time Piera completed the King of Tone, it didn’t sound much like a BluesBreaker. But it achieved other aims: It sounded natural and open and felt touch responsive. As the KOT evolved it effectively became two drive pedals in one—each of which could be configured as a boost, drive, or distortion. This KOT iteration is the foundation for the Brothers AM.

The many controls on most Chase Bliss pedals induce panic among some players. If you’re among them, Brothers AM won’t do much to calm your nerves—at least at first. In reality, though, the Brothers AM is easy to know. The six knobs are two identical sets of gain, volume, and tone controls for the two circuits. You switch each circuit between boost, OD, and distortion using two dedicated toggles on either side of the 3-position treble booster switch. The DIP switches on the pedal’s crown make it possible to add extra gain, reconfigure the footswitches for momentary bypass, repurpose volume and tone knobs as master volume and presence controls, save and switch between two additional presets, assign expression pedal control, and more.

Manifold Monster

One of the Brothers AM’s great strengths is its agreeable nature. It doesn’t seem to give a hoot what guitar or amp you throw in the pool with it. This easygoing personality makes it a great backline-surprise coping tool. Got a Telecaster and an AC15 conspiring to run you through with treble daggers? A dose of the Brothers AM’s soft-clipping OD and a dark tone setting will turn those sharp ends to honey without sapping too much energy. Need to slice through humbucker fog? A dollop of top end and a bump from the treble boost will cut through pea soup. Finding these agreeable baseline tones for a given guitar/amp combination is easy. But what’s most satisfying is shaping, refining, and recombining the Brother AM’s two basic voices into so many completely different identities.

Another great thing about the Brothers AM: You know how a lot of overdrives turn to mud at low amp volume? The Brothers AM sounds and feels great in this role. The range and interactivity between the tone and gain controls enables hot, lively tones and touch-responsive playing dynamics. The Rangemaster-voiced booster shines in this context, too. I got full-bodied, sparkling sounds from a 35-watt Fender Vibrolux whilst leaving room for an unamplified acoustic and voice in the same room. And it's easy to hear how Brothers AM will excel in small or home studios just as readily as it does in big rooms with big, loud amps.

If the Brothers AM has a drawback, it’s the heavily colored compression at the highest gain levels. But if the Brothers AM doesn’t shine brightest at these settings, the relative headroom and kinetic bump at most others underscore how you don’t need maximum gain to make your tone as hot as the hinges of Hades.

The Verdict

The Brothers AM makes almost any guitar or amp feel more alive and muscular, in shades ranging from a hint of heat and mass to fuzzy, fierce, and very loud. Though many stompbox clockers categorize the Brothers as a transparent overdrive, it does possess a compressed coloration throughout its range. It’s less cramped in the midrange than a vintage TS9, just as its creators intended. But if super-oxygenated boost-to-light-overdrive tones are the goal, you still might be better served by a good Klon clone or a preamp pedal that mixes in a clean signal. For anyone else, the Brothers AM is full of delights. It lends extra body and fullness to any tone recipe without stripping away instrument or amp personality. It’s effective in small rooms where you still want big-amp sound, but the visceral way it elevates a louder amp—especially with the thrilling treble booster in the mix—can make a player giddy. The Brothers AM, as suits its name, is like the kid at school that gets along with everyone. It doesn’t matter if you have a Rickenbacker and a Vox, an SG and a Deluxe Reverb, a baritone and a Marshall, or a decrepit old lipstick-pickup Silvertone and a Champ—all of them can sound and feel extra exciting along a spectrum that spans a gentle push and raging roar.