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Brutality meets craftsmanship in The Final Void, the crushing new full-length from Wisconsin death dealers YOTUMA—and we’re streaming the entire record exclusively here.
The post Album Premiere: YOTUMA – ‘The Final Void’ appeared first on Decibel Magazine.

PRS Guitars today announced the return of the Mira model to the Maryland factory line, now with the 24.594” scale length. This new iteration, available in both gloss and satin finishes, will be a regular offering in the S2 Series. The 22-fret S2 Mira 594 covers a wide range of styles, including rock, blues, garage, and punk. Pairing its all-mahogany construction with PRS 58/15 LT vintage-voiced pickups results in warm, focused midrange. The humbuckers are paired with two mini-toggle switches to individually tap the pickups, delivering both authentic humbucking and chimey single-coil sounds.“The Mira has had an interesting history over the course of the last 17 years, but I don’t think it found its true voice until now,” said PRS Guitars Director of Sales, Jim Cullen. “The S2 Mira 594 combines our 24.594” scale length with a Pattern Thin neck shape and a very simple and straight forward feature set that provides an incredibly lively, simple-to-use tool to create music. I hope you are as inspired as we are with the newest evolution of this classic model.”The S2 Mira 594 is available in: Antique White, Black, Dark Cherry Sunburst, Platinum Metallic, Vintage Cherry, and debut color Black Rainbow Holoflake.The S2 Mira 594 Satin features the PRS “sinky” satin nitro finish, and is available in: Matcha Green, Mavis Mint Metallic, Metallic Midnight, Dark Cherry Sunburst, Red Apple Metallic, and debut color Cloud Burst.The Mira was first introduced in 2007 as an all-mahogany pickguard guitar with moon inlays, 24 frets, 25″ scale length, a stoptail bridge, and a single mini-toggle. It has appeared across all of the Series and in various configurations, including the popular Mira X. In 2013, the Mira was moved from Core and was one of three models to launch the S2 Series. It was last offered as an S2 in 2018, becoming part of the SE Series from 2020-2023.PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.

South Korean sludge crew Gawthrop get heavy and nihilistic on new track “Jimmy.”
The post Track Premiere: Gawthrop – ‘Jimmy’ appeared first on Decibel Magazine.

Is 2025 is the year of Texas grind? Noisy Neighbors help strengthen the case.
The post Blast Worship: Noisy Neighbors appeared first on Decibel Magazine.

T-Rex Twin Blaze Giveaway from Guitars.net

T-Rex Twin BlazeHandcrafted in DenmarkAn identical two channel, tube driven Overdrive Distortion (12AX7A) spiced with the legendary T-Rex Tone and multiple functions.The extended tone control allows you to go from clear British sound to deep-end distortion, obtaining a variety of sound settings.Crunch and Lead setting for each channel, which goes from gentle, crispy blues to over the top lead sound.The emulated Speaker Simulation output is directed to the studio setup or other external effectS.A 20dB Clean Boost works individually to dial in the perfect solo level without changing the tone and gain structure.12V power supply included.

Sheptone® announces the 7078, a brand-new humbucking pickup inspired by the legendary tones that redefined rock guitar in 1978. Considered an industry secret for the past 18 years, Sheptone has been the “go to” for professional guitarists wanting to achieve that 1950’s tone that initially revolutionized electric guitar. The 7078 is the next step in the evolution of the Sheptone product line.The 7078 pays homage to the iconic rhythm tones captured on Van Halen’s groundbreaking debut album. It was a sound that inspired generations of players and changed the way the world hears and plays the electric guitar. From the driving rhythms of You Really Got Me to the groove of Jamie’s Cryin’ and the raw fire of On Fire, the DNA of those unforgettable tracks lives on in the 7078.At the core of that original tone was a stock 1975 Ibanez® Destroyer loaded with a Maxon® Super 70. The Sheptone 7078 recreates that magic with uncompromising authenticity, using the finest materials and painstaking craftsmanship. Each unit is hand-assembled by Sheptone owner and builder Josh Vittek, ensuring the detail and precision needed to deliver truly inspirational tone.Using a rough cast, degaussed Alnico 8 magnet, the 7078 delivers articulate note definition and huge dynamics. The coils are computer wound with 42AWG plain enamel wire to Sheptone’s exacting specifications, ensuring consistent tone from pickup to pickup while staying true to vintage character. Sheptone’s proprietary double-black butyrate bobbins anchor the design, paired with German nickel silver baseplates that follow original-era specifications. Vintage braided hookup wire keeps period-correct authenticity, while the 49.2mm pole spacing and a resistance averaging around 7.7k complete the historically correct construction.“This pickup is for a sure a future ‘secret sauce’ for many people’s rigs. It really does things right! Harmonics in a second, the perfect amount of push on an amp yet while retaining complete clarity for clean playing to the most percussive metal rhythms my caveman wrist can throw at it. There’s a certain sizzle near the mid highs that spikes your amp distortion in a way that I’ve not heard before. From the most basic of rock to the fastest, crustiest thrash, this pickup is quickly becoming my go-to,” said professional touring and studio guitarist, Charlie Bellmore of Jasta and Kings and Liars.“The 7078 is more than a pickup. It’s a tribute to the sound that made so many of us pick up the guitar in the first place. Including me!” said Vittek. “I build each one by hand, with the same mindfulness and materials as I do all my other models. This may be the last pickup you’ll ever need… unless, of course, you own more than one guitar.”The Sheptone 7078 is available now directly from Sheptone and through select dealers worldwide.For more information, visit www.sheptone.com

We’ve been basking in the golden age of guitar-effects pedals for some time now, but somehow things just seem to keep getting better and better. Holy-grail tones have been decoded and transcribed into pedal form, even as radical new stompbox inventions give musicians the ability to create new ones. And guitarists’ pedalboards are no longer governed by the biggest names in pedal manufacturing. These days, you’re just as likely to see a Boss DS-1 on someone’s board as you are a one-off build from a friend of a friend.The ground between the majors and the building-for-fun crowd is filled with passionate pedal makers who are changing how guitarists approach their instruments. In this piece, we’ll introduce you to three North American pedal companies who have changed the pedal game with unique sounds, community-minded approaches, and years of hard work—plus, a quick word on their top stomps. Red Panda(redpandalab.com)Biggest Hit: ParticleWhat It Does: The original granular delay pedal, the Particle chops your signal into small grains and then rearranges, shifts, and mangles it, using the techniques of granular synthesis in real time.The Story:Curt Malouin isn’t a guitar player, and he didn’t set out to make guitar-effects pedals, yet that’s exactly what happened with Red Panda. Malouin was working a demanding software engineering job and had been building modular software for 15 years before he started soldering pedals in his garage in 2009, but his love for electronics began when he was 11. Malouin says that having Asperger’s syndrome facilitated his obsession with sound: “I was really super interested and focused on using algorithms to manipulate sound and zoom in on little details of the sound,” he says. “It’s what my brain is focused on most of the time.”Malouin messed around with drum machines, synths, and turntables when he was growing up in metro Detroit, listening to techno and hip-hop created in the city. Pedals were of a piece with those scenes: tools in a sound creator’s kit that were highly tweakable and allowed for brilliant manipulation, like how DJs and hip-hop artists used both old and new technologies to create unique sounds. When Line 6’s ToneCore pedals, like the Echo Park delay and Verbzilla, dropped, Malouin discovered that they included interchangeable modules that allowed users to modify the DSP code. It happened to be the same code he used in college while studying electrical engineering. That helped bridge his expertise with his new interests. “It was a combination of wanting to get back to something a little more simple and physical than working on software,” he says.In 2011, Red Panda released the Particle, Malouin’s first ground-up design and the first-ever granular delay pedal. Word spread about this one-man operation building deeply featured digital pedals. Four years later, Malouin moved to a shared workshop. Another five years passed before Red Panda moved into its current office and workshop. Red Panda’s builds are entirely digital, and feature-wise, they’re more complex than your average stomp. As a rule, they’re equipped with stereo inputs and outputs, full MIDI implementation, and web-based editing. Malouin is the engineer behind every step of their creation—he even built the operating system that runs the algorithms and digital signal processing (DSP) code. Malouin says that involvement keeps Red Panda’s conceptual integrity consistent from top to bottom. Red Panda’s new RD1 series, which has been in development for three years, aims to deliver these designs in a pared-back, more affordable package. They’ll feature the same algorithms as the flagship products, but with fewer features and more focused applications—something like an old-school pedal that “does one thing, and does it really well,” explains Malouin. “There’s a lot of fun engineering challenges in trying to keep something that sounds just as good as our other pedals, but we can sell at a lower price point that allows musicians to grab it and make interesting music.”The pedals were ready to go in April this year, but Donald Trump’s volatile tariff applications made it impossible to meet the price target Malouin wanted to hit. Red Panda’s pedals are all assembled in Michigan, but he sources parts from around the world, many of which Malouin says will never be made in the U.S. He adapted by, once again, leaning on new processes to reduce costs; for example, designing the pedals to be as quick to assemble as possible, or replacing several components with one that can do multiple things. “It’s a little engineering magic trick that makes this work fun,” he says.Red Panda has grown since its beginning, but not by much. Malouin and only three others are day-to-day, full-time workers, which means everyone handles a bit of everything, from assembly to orders to shipping to video productions.Electronic Audio Experiments(electronicaudioexperiments.com)Biggest Hit: LongswordWhat It Does: Op-amp distortion and overdrive influenced by the sounds of classic post-hardcore bands, plus the Boss HM-2, Caroline Wave Cannon, and MXR Distortion+.The Story:It’s been just over 10 years since Boston-based pedal builder John Snyder released the first version of the Electronic Audio Experiments Longsword, but it wasn’t until 2020, when he began building full time, that the pedal reached its final form.If you’re curious, though, you can see exactly how the Longsword evolved over the years. Snyder tracks and publishes all the changes to each of his pedal’s circuits over the years on EAE’s website. “For me, it was partly to quell confusion on the internet where people were like, ‘This version of this pedal has this thing and this version has this thing,’ or people saying, ‘I have this serial number, when did you change the board?’ I can just say, ‘Here’s the change log, it’s on the website, it’s in the manual.’ I wish other companies would do something similar.”Snyder began playing in bands in middle school, and during his college years in the early 2010s he was active in the Northeast’s DIY community of emo, punk, and hardcore bands of all stripes. Influenced by a family heritage of engineers (one of his grandfathers was head of quality control at a vacuum-tube plant in Kentucky), Snyder was always the token gearhead in his circle. His bands were never too popular, which meant he had more time to focus on crafting unique sounds between short tours and weekend runs.Dirt lovers around the world have a rare meteorological phenomenon to thank for their EAE pedals. In early 2014, Boston received more than 20 inches of snow over two days. Snyder was snowed into his illegal basement apartment, unable to visit his girlfriend (now wife) or any friends. It was during these locked-in days that Snyder breadboarded the Longsword. He built one for himself, and the following summer he sold a batch of 15.Snyder finished a post-grad degree in electrical engineering in May 2020, and outside of the defense industry, there weren’t many prospects. After his wife suggested that he focus on building pedals, Snyder spent three months working on streamlining his processes. That turned into six months, which turned into a year. The operation didn’t fit into Snyder’s guest room anymore, so he upgraded to a real shop space for a while before landing on EAE’s current location, a corner of the second floor of a warehouse in Waltham, Massachusetts. (Their downstairs neighbours are Small Bear Electronics.)“We’re all helping each other, which is a really awesome way to build community and make what we do more interesting. Something that I try to keep in mind is that this industry is so, so small, and we’re not really competing with each other.”–John Snyder, Electronic Audio ExperimentsThe Longsword was born from Snyder chasing the solid-state and op-amp distortion sounds of classic post-hardcore acts like Touché Amoré, La Dispute, and mewithoutYou. The Longsword’s lineage includes elements of the Boss HM-2, MXR Distortion+, and the Caroline Wave Cannon (which itself has some RAT DNA), but Snyder added a Baxandall EQ circuit. “I wanted something that didn’t already exist in the market and was very purpose-driven in its design, and could be unique enough to stand out,” explains Snyder.Snyder credits mentors like Nick Williams of Dunwich Amplification with sharing their time and expertise in EAE’s early days: “[Nick] taught me a lot of the basics of, like, ‘How do I lay out circuit boards? How do I order circuit boards? Where do I find parts and stuff?’” Others shared meat-and-potatoes tips like how to drill enclosures in a bedroom without getting aluminum shavings everywhere, and how to market and build artist relations. Snyder tries to pay it forward these days by helping out new builders. “We’re all helping each other, which is a really awesome way to build community and make what we do more interesting,” says Snyder. “Something that I try to keep in mind is that this industry is so, so small, and we’re not really competing with each other. We’re all competing with Amazon Basics and Behringer.”RevvBiggest Hit: G3(revvamplification.com)What It Does: A modern, mid-focused, and aggressive distortion based on Revv’s Generator 120. Tight, clear high-gain tones.The Story:Winnipeg’s Revv Amplification made their name on the reputation of their excellent high-gain amplifiers, like the Generator 120. The 4-channel, flagship amp head was the sound in lead designer and president Dan Trudeau’s head. Trudeau, along with vice president of sales and marketing Derek Eastveld, took the formula a step further in 2018 when they put Revv’s rich, articulate, ground-shaking dirt into stompbox format. The day Revv’s G3 pedal launched in May 2018, Eastveld was on a flight to Germany. He and his colleagues had figured they would sell 250 of them in a year. By the time he landed later that day, they’d racked up 270 sales through their website. By the end of the month, they had more than 1,000 orders to fulfil. The success was exciting, but it also posed a problem: Revv only consisted of four full-time workers. The fateful launch provided the cash flow needed to scale up the company, and today 20 people work full-time for Revv, across production, marketing, sales, design, and administration.Revv’s amp-in-a-box G-series pedals—G2, G3, and G4—are color-coded according to the corresponding channel on the Generator 120. The G2, for example, is green, because when the namesake amp’s second channel is engaged, the amp’s LED glows green. Eastveld says that means some people mistake the pedal for a Tube Screamer clone, which is a big mistake. The G2 is much more saturated and modern-sounding. Eastveld describes it as splitting the difference between contemporary high-gain monsters like Mesa Boogie Rectifiers and 5150s, and mid-gain classics like vintage Marshalls. The purple G3, though, remains Revv’s top-selling pedal. It’s even more modern, mid-focused, and aggressive, with a 3-position switch to navigate between different voicings and saturation levels.“We’re always taking notes about like, ‘Okay, what did people respond well to, and what do we need to take another look at?’”–Derek Eastveld, RevvEastveld and Trudeau pride themselves on staying flexible and responsive to their users. They constantly monitor their social media for comments and suggestions. “Maybe somebody bought something and then sold it because it wasn’t a right fit for them, and we’re always taking notes about, like, ‘Okay, what did people respond well to, and what do we need to take another look at?’” explains Eastveld. That openness has led directly to amp and pedal upgrades. The G series pedals, including the famed G3, got a V2 makeover this year.

The Terrain Deluxe is a Harmonic Tremolo with Tap Tempo, featuring a high fidelity all analog signal path using LightDependent Resistors (LDRs) for modulation. The Harmonic Tremolo mode uses an electronic crossover to split the signal into high and low frequency components.These are modulated 180 degrees out of phase and then re-combined creating a wet, lush tone. Speaking of tone, theTone control pans between the high and low frequency signals, going from full treble to full bass and everything in between. In the unlikely event that you get tired of the beautiful Harmonic Tremolo there is a Normal / Harmonic mode switch. In Normal Mode the high and low components are modulated together creating a traditional tremolo sound.There are Speed, Depth, and Gain controls, and a Waveform switch to select between square, sine, and triangle waveforms.The Tap Tempo foot switch works win conjunction with the Tempo Multiplier switch allowing you to create quarter note, eight note, and eight note triplet modulations by just tapping the base tempo. The two tempo LEDs above the footswitch flash together in for Normal mode and 180 degrees out of phase in Harmonic mode.Finally, there are two independent expression pedal inputs: one each for Speed and Depth.• Harmonic Tremolo with Tap Tempo.• High fidelity all-analog signal path using LDRs.• Speed, Depth, and Gain controls.• Tone control that sweeps between high and low frequency signals (center is flat).• Normal / Harmonic mode switch.• Sine, Square, and Triangle waveform switch.• Tap Tempo footswitch with Tempo Multiplier switch.• Independent expression pedal inputs for Speed and Depth controls.• Full bypass with Fail Safe® using relays.• 9VDC, 80mA.MAP price: $220 USD ($299 CAD).