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Summer School Electronics Middle School Chorus is a modern take on an 80’s classic. The Middle School Chorus is a unique dive into modulation that saves pedalboard space and opens a world of sonic options. It combines both a chorus and vibrato effect into one stompbox, allowing the effects to be changed with the tap of a foot. This pedal has a wide range of modulation, from classic 80’s chorus-tones to wet, modern guitar sounds. When the blue light is on, the pedal is in Chorus-mode and can be adjusted by the Chorus Rate and Depth knobs. When the green light is on, the clean signal is omitted and the pedal is in Vibrato-mode and can be adjusted by the Vibrato Rate and Depth knobs.Each pedal offers the following features: • Separate Chorus and Vibrato Rate controls with a shared Depth control • Footswitchable Chorus/Vibrato feature • Hand Built in Syracuse, NY • Lifetime Warranty • 9-volt operation and standard DC input The Middle School Chorus is available at Summer School Electronics dealers, at a street price of $199.99 as well as online at summerschoolelectronics.com.

I recently watched a documentary on Nashville’s songwriting culture called It All Begins with a Song, and while it was an occasionally insightful and touching look at the tunesmithing industry, it omitted an important part of Music City’s creative community: the writers who fly under the mainstream’s radar, and yet craft equally—if not more—satisfying numbers that hit deep emotional notes and tell profound human stories.I get it. More viewers would like to watch how the songs they’ve heard were built than songs performed by artists who’ve not, for a lack of luck, financial support, or other business machinations, reached their ears. And yet, I felt the film missed an opportunity to enlighten people to a different kind of Nashville songwriter—a breed of artist less slick in, perhaps, the writing of Top 40 hooks, but sometimes more attuned to the rawness and complexity of real human experience. Writers who have the ability to capture humor, sadness, and life without flounced dressing. I’m thinking of artists like Buddy Miller, Kevin Gordon, Jon Byrd, Tim Carroll, and even Emmylou Harris—the latter a cross-generational bridge with the ability to create a beautiful latticework of words and music with her lyrical skill and unmistakable voice. (Note: Listen to Gordon’s “Colfax,” for example, and you’ll enjoy one of the most complex-yet-accessible stories about adolescence, small-town America, and race put to song.)My point is this: When it comes to every aspect of the music you love, try to dig deeper. If you love guitar, and I know you do, don’t stop with Jeff Beck, Carlos Santana, Josh Homme, or Jack White. Find out about the outliers like Sonny Sharrock and Yvette Young and Stan Lassiter, or, if you dig blues, Junior Kimbrough. They are all uniquely and brilliantly themselves. And Tom Waits is the rare example of an outsider songwriter who has penetrated the mainstream, and a damn fine one.“There are great artists flying just under the widescreen radar everywhere that music is played and stories are told.”I’ve chased artists like this, and the songs and sounds they make, for my adult life. If I had to blame it on anyone, it would be Johnny Cash, whose unadorned music and poetry, punctuated with surprising vocal approximations of train whistles and shouts of “sooey,” spun my head around and opened my ears to the world when I was a child. (Cash was, perhaps, the ultimate outsider insider.) And because of this pursuit, and my decision to become a music journalist as well as a player, I’ve been able to speak with and even be befriended by quite a few of them. Their stories, whether in words or sounds, have profoundly shaped my perspective, character, and creativity. They influenced me to become and remain a storyteller, one way or another. Heck, some, and especially the late Mighty Sam McClain, the greatest soul singer you’ve probably never heard, even became my chosen family. In Sam’s case, a second and better father, whose voice echoed between the Earth and the stars. (Listen to his interpretation of Carlene Carter’s “Too Proud” for a jolt of scarred honesty, then explore his catalog.) The same with R.L. Burnside, who shaped my thinking as a guitarist and a human in ways I’d not realized until they were ingrained.There are great artists flying just under the widescreen radar everywhere that music is played and stories are told. It just takes a little more effort to seek them out. Chances are, if you choose to speak with one of them after a performance or even through social media, you might make a connection. It could be a one-off exchange or it could be a new friendship, because life has a way of taking you down unforeseen roads if you are willing to take the first step onto them. You might even be one of these artists yourself. If you are, you have my respect for striving forward, in search of the essence, the expression that helps the world fall into place for you and those for whom you record and perform. You may be underacknowledged but you are doing essential work. And you understand that it truly can begin with a song or a sound.

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

Nashville boutique guitar brand Novo was founded by Dennis Fano, of Fano Guitars fame, back in 2014. The two brands speak in similar design language and philosophy for obvious reasons, and Novo guitars have a style all their own. But like the first Fanos built by Dennis himself, Novo body shapes, finish schemes, and the feel of the instruments are prevailingly shaped by early and mid-’60s influences. Naturally these attributes shine when mated to the very Bass VI-like Voltur B6.Origins of the BeastA 6-string bass, unlike a baritone, is tuned exactly like a guitar, E to E—just an octave lower on a much longer scale. It’s likely the very first instrument built in this configuration was Danelectro’s UB-2 in 1956. But the famous evolution of the 6-string bass concept was introduced by Fender five years later, in 1961, and named the Bass VI. The Bass VI was never a common instrument, but it was, alongside the Danelectro, the choice for session players chasing the tic-tac sound, which mixes the percussive pick attack from a guitar and an upright bass. Six-string basses are all over genuinely classic tunes: “I Fall to Pieces” by Patsy Cline, “Wichita Lineman” by Glenn Campbell, and probably Elvis Presley’s “Jailhouse Rock,” which in 1957 became the first No. 1 hit in the U.S. believed to feature the 6-string bass. The Bass VI also turned up in the hands of artists like the Cure and Jack Bruce of Cream, and most famously was sometimes cradled by George Harrison and John Lennon while Paul McCartney tended to keyboards.“It is really nice to see a manufacturer spend the time to develop such a refined take on the 6-string bass—premium price or not.”For all the high-profile users and applications, Bass VI-type instruments like the Voltur B6 aren’t something too many manufacturers offer, and you see few in mainstream music. So, I was a bit surprised when my editor told me I would have the pleasure of reviewing one, and especially pleased it would come from such a renowned builder.Luxury AccommodationsThe Voltur B6 wows from minute one. It’s very stylish and well-made. And it is really nice to see a manufacturer spend the time to develop such a refined take on the 6-string bass—premium price or not. The finish is beautiful. Our review B6 came in a bold and attractive copper, but vintage-inspired paint jobs including Mary Kaye white, a very Gretsch-like nicotine blonde, a Silvertone-influenced starry night, and more are also available. The bass comes with three custom pickups by Lollar called Novo Gold Foils, which are visually distinctive for their almost industrial take on the vintage gold-foil design. Along with controls for volume and tone there are three very Bass VI-like switches for selecting different pickup combinations. Another striking design feature is the pairing of a Mastery M1 bridge with a Mastery NV vibrato with a lightning bolt arm that echoes the design themes in the pickup covers. The very comfortable 30″ scale is spanned with a custom set of .026 -.095 strings by Stringjoy. I felt instantly at home.It’s a Bass, It’s a Guitar, It’s…When I grabbed the Voltur B6, the bass player side of my brain told me instantly to utilize the chordal possibilities of the instrument, largely because as a gigging bassist I don’t get to explore that technique as much. Playing a simple arpeggiated pattern, the notes rang out clearly like a guitar, but with the punch and authority of a bass (clip 1). The action of the test instrument was ever so slightly high for my liking, but I believe that contributes to the punch in each note. As a massive fan of the single-note signature lines normally played on a baritone guitar, I wanted to try that type of treatment on a melody line played very close to the bridge, for a skinnier, almost surf-like tone. The tone that came out of the Voltur 6 with the bridge pickup had an antique glow and a touch of garage attitude (clip 2). I desperately wanted to play more with this approach, but I was also eager to give the Novo the tic-tac treatment (clip 3). I recorded a bass line using a hollowbody short-scale bass and rolled off all the highs in order to better hear and feel the unique pick attack from the Voltur B6 when I doubled it. The result was a sound all its own—tubby, but warm and certain to sit prominently in a mix.The VerdictFor an instrument that could be considered nichey, the Novo Voltur B6 is ultra-versatile. The three pickups offer significantly different tones—all of which have many possible uses. It’s addictive, utilitarian, and opens up many unique musical paths. And after living with this instrument for a while, I’m captivated by the idea of getting one for studio use. Novo’s Voltur B6 definitely comes with a boutique-builder price at $4,499. But the bespoke quality you sense playing up and down the neck, or just looking the instrument over, is undeniable. For any bass player or guitarist interested in a tool that can transport you beyond the box, the Novo Vultur B6 could lead to unexpected treasures.

Mirage is a dual reverb workstation that goes far beyond traditional stomp box boundaries. Built around two fully independent engines – R1 and R2 – Mirage offers studio-grade processing, intuitive controls, and a remarkably flexible layout that appeals equally to sound designers, gigging musicians, and ambient explorers. Whether you’re stacking two reverbs for depth, splitting engines across stereo channels, or dynamically morphing textures live, Mirage is built to perform. Each engine can load one of 16 distinct reverb algorithms, organized into two banks. The Outer Bank focuses on natural, familiar reverbs: Plate, Spring, Cathedral, Room, Gated, and even the mythical Inchindown oil tank impulse (the longest recorded reverb in nature) – ideal for players looking to recreate spaces found in vintage recordings or real-world acoustics. The Inner Bank unleashes modern, ambient-driven effects: shimmer in various configurations (up, down octaves, blended, pitch-shi ed), modulation and echo based reverbs and infinite trails with the twist of a knob.Each reverb engine has four dedicated knobs: Mix, Volume, Swell, and Excite. Swell typically controls decay or size, but some algorithms use it creatively – like gating time or freeze triggering. Excite is context-sensitive and adapts per algorithm: from shimmer balance to modulation depth, octave volume, or tone shaping. A Shi Push Switch toggles between the two algorithm banks, while a Voice Selector chooses the algorithm for each engine – no menu diving, just hands-on, instant access. Routing is one of Mirage’s standout features. With series routing, you can stack the two reverb engines for massive atmospheric depth or use each engine independently for 2 mono reverb presets – engaging either footswitch as needed. Want to insert another pedal between the two engines? The SEND/RETURN loop between R1 and R2 is perfect for adding modulation, delay, filters, or even distortion/fuzz pedals for expanded textures. Choose stereo or separate routing to process L and R channels independently, assigning distinct reverbs to each – or dial in slight differences on the same algorithm to widen the stereo image. You can even run two completely independent mono setups, each with its own activation footswitch. This is especially handy for one acoustic and one electric guitar setups, dual mono synth setups or setups using an external looper or switcher system. There’s also a Mono In/Stereo Out (MISO) mode, ideal for mono guitars, synths, or front-of-house reverb sends. Internal switches on the back panel offer deep customization without the hassle of so ware editors. Choose between true bypass or buffered trails, activate Kill Dry for parallel rigs – send (aux) effects in the studio, and configure routing via the Assignment Switch (SOS or MISO). Footswitch behavior is just as smart. In Independent mode, each footswitch toggles its engine on/off. In R1 XF mode, the right footswitch becomes a momentary controller that ramps either R1’s Swell or Excite to full – then returns it smoothly when released. Use it to perform bloom swells, shimmer bursts, gated punches, or on-the-fly freeze. Assign control via the R1 Control Assign Switch. You can also map an external expres sion pedal to R2’s Excite or Swell using its own switch – the XP input accepts standard TRS expression pedals (up to 100k) Despite all its power, Mirage is fast and intuitive. There are no menus, no screens – just direct access to deep features with a layout that invites experimentation. Mirage even remembers your power-up state (bypass or active) for seamless integration on stage or in studio. Full Feature ListDual independent reverb engines – Dedicated controls per engine for hands-on shaping. Flexible routing setup: mono in series, stereo, independent dual mono, or mono to stereo configurations – easily adapts to complex gear rigs or in the studio. SEND/RETURN loop between engines – insert pedals between reverb stages for enhanced routing. 16 total algorithms split into two intuitive banks: vintage/classic and ambient/experimental. Studio-grade signal path with high headroom, clarity, and detail. Analog-dry signal path. Flexible footswitching modes – independent engine toggling or real-time ramp expression. Assignable external expression pedal input. Internal switches for routing and bypass mode selection. Direct, playable interface for instant creative results – no menus to navigate. Power supply (not included): Use an isolated 9V DC, 2.1 mm x 5.5 mm, center negative power supply. Max current consumption 210mA. Click-less true bypass design via high quality relay or buffered bypass with reverb trails. Power-up bypass/engage preset function for the footswitches. Top mounted jacks. Dark Abyss Blue die-cast enclosure. Compact, rugged enclosure – designed for road use without sacrificing control layout. (W x L x H) : 123 x 97 x 54 mm. Weight 457 g. Made in Greece.

Fortin Amplification unveil the FOURTEEN: A dual-channel drive/boost pedal with unparalleled power and versatility.Fortin Amplification is proud to announce the launch of the FOURTEEN, a groundbreaking dual-channel drive pedal born from the legacy of the acclaimed HexDrive. Originally developed by Mike Fortin for use within NeuralDSP’s Fortin plugins, the HexDrive quickly earned a reputation as the ultimate “screamer-style” boost for higher-gain guitar tones – and became a staple in the Fortin product line.Building on this proven foundation, Mike has integrated his sought-after TS-style modifications – the F9 and F808 – into the new FOURTEEN. The result is a pedal that delivers unmatched tonal versatility and raw power for modern players.Each of the FOURTEEN’s two identical, switchable, channels offers a selection of three distinct boost/drive modes, allowing users to shape their tone with precision and ease. With the addition of amp channel switching control, the FOURTEEN empowers guitarists to command their tone from a single, compact unit. The FOURTEEN is about control. It’s about power. And it’s about making sure you never sacrifice one for the other.Key features of the FOURTEEN Dual Boost/ Overdive include: 2 identical, switchable, channels;Each channel has 3 modes – HD, F9 and F808;Assignable amp switching, the FOURTEEN can switch the amp channel, giving the player control of which stomp changes the amp. It also allows the player to assign an amp channel to whichever channel of the pedal they prefer;Like every other Fortin pedal, the FOURTEEN is proudly made in the USA using only the highest grade materials selected for superior sound, response and reliability.

With years of experience recreating the iconic Interfax Harmonic Percolator – a distinctive, rare and sought-after mid 70s fuzz pedal – Fredric Effects now offers the Silicon Harmonic Percolator. It’s a revised version that swaps the original germanium components for carefully chosen vintage silicon transistors from 1980s East Germany. Fredric Effects have been building a part-for-part clone of the original 1970s Interfax Harmonic Percolator for over a decade now, and an improved version of that hybrid Silicon/Germanium circuit as the Utility Perkolator for almost as long.The Harmonic Percolator circuit is simple and versatile, and careful component selection can yield fascinating results. This modified version of uses only silicon transistors manufactured 40 years ago in the former East Germany, and clips the signal using a weirdo East German diode array. This result is an effect which tightens and focuses the sound of the Percolator. The Silicon Harmonic Percolator sits somewhere between fuzz and distortion – clearer and more defined than a traditional fuzz, but still wild and saturated when pushed. It’s a distinctive evolution of a cult classic.

Introduced in 2018, Marshall’s Studio Series amps are U.K.-made, compact, low-wattage renditions of past classics. They’re smart designs in light of the market’s turn to quieter, smaller amps, and they’ve earned Marshall kudos. Earlier Studio Series amps, like the SV20C and ST20C, were 20-watt mini versions of the original late-’60s Plexi and JTM45 models, respectively. Marshall also built Studio versions of the JCM800 and Silver Jubilee. Now, the JCM 900 Studio head and 1×12 combo captures the essence of the company’s high-gain sound of the ’90s.Replicating the experience and sound of the 900s—the 50- and 100-watt, trouser-leg-flapping monsters from the golden age of grunge and metal—with a 20-watt output stage isn’t easy. As with the previous Studio models, one key to success is the use of large 5881 tubes, but in a cathode-biased output stage driven by lower plate voltages than in the big-bottle amps of old. Along with the ability to retain the beefy, full-throated sound of the originals, this approach yields longer life from tubes that are built to withstand much harder use. And, since the output stage is cathode-biased, a tube change means simply popping in a new pair of 5881s and off you go, with no re-biasing necessary.Marshall aficionados will note that the JCM900 series amps were originally made with EL34 output tubes, and later 6L6s (which are direct substitutions for the 5881s used here). It was also fixed-bias rather than cathode-biased in both cases. In a circuit like this, though, the high-gain tone is driven much more by the preamp circuit, which is built around two 12AX7 tubes (plus another in the phase inverter). The Studio version also uses diode clipping to increase saturation levels in the style of the high-gain stage in the original 900 Series.Ground ControlThe JCM 900 Studio’s control layout follows a basic footswitchable two-channel topology with a shared EQ stage. Channel A is rhythm and channel B is lead. The knobs are for gain (the channel A preamp), lead gain (the channel B preamp), treble, middle, bass, presence, master reverb, plus master reverb and volume for channel A and master reverb and volume for channel B. There’s a push-button switch to engage the lead channel, but the included 2-button footswitch delivers that function plus reverb on/off. As part of Marshall’s mid-priced PCB-built range, the Studio Series might not fly with the top-shelf, hand-wired crowd, but inside, the construction is good-quality stuff.The robustly built combo cabinet measures 21″x18″x10″ and weighs 39.5 pounds and is dressed up in recognizably ’90s-era Marshall styling. The Celestion G12T-75 speaker within is shrouded by a ported back that’s much more closed than open, which should boost low-end girth relative to a more open-backed design. In addition to the 3-way output level switch, the rear panel includes two line outs (one standard, one recording compensated) with level control, effects loop send and return, one 16-ohm output for the onboard speaker, and outs for either 1×4-ohm, 2×8-ohm, 1×8-ohm, or 2×16-ohm speaker configurations.Expansively EnglishTested with a Gibson ES-355 and a Fender Telecaster, the JCM 900 Studio worked in perfect time-capsule-authentic ’90s fashion. Some players denigrate original 900 models for the fizz and sizzle that the solid-state, diode clipping adds to the lead tone. But 900s were used to make plenty of great heavy rock, grunge, and metal for decades, and by now, they are regarded as modern classics, especially for a certain set of ’90s-era tones. If you want those sounds, the JCM 900 Studio does the job very, very well. In fact, apart from the lower output making it less ideal for super-loud bands on big stages, it’s hard to hear how this new, smaller rendition suffers alongside an actual Model 4100.“The Studio 900 is a petite, 20-watt Marshall that punches like its ’90s heavyweight inspiration, the JCM900.”Channel A’s clean tones are useful, if not particularly characterful until you push the gain to edge-of-breakup territory. But it’s pedal-to-the-metal, guitar-god glory from the moment you stomp on the channel B switch. The key elements of 900 sounds—searing high-end bite, aggressive midrange, and low-end wallop— are all there in abundance. The dual master setup, lacking on much of the channel-switching competition, is a real bonus here, too. It enables you to rein in the rhythm channel independently to set up a broad spectrum of channel-to-channel dichotomies from smooth to jarring.Channel switching makes the JCM 900 a surprisingly versatile amp, and the three output levels (20 watts, 5 watts, and 1 watt) selectable from the back panel make it even more so. No, the 1-watt setting won’t sound exactly like the 20-watt mode with the masters maxed, because 1 watt of output power simply doesn’t push the speaker or fill a room with sound in the same way. But with so much of this circuit’s tone coming from the preamp anyway, it will churn out surprisingly heavy doom riffs at bedroom volumes. The inclusion of reverb was also a standard feature of the original 900 Series amps, and while it is generally unacclaimed in those amps, the effect acquits itself quite well in the Studio 900. And between the reverb and the effects loop, the Studio 900 is a handy little package for adding atmospherics to clean or heavy tones.The VerdictAs a real Marshall doing real ’90s-era tones in a compact, lower-output package, the JCM 900 Studio is a total success. For players keen to explore the widest range of sounds, I’d argue it’s more versatile than the Studio Jubilee, and it’s an interesting alternative to the JCM800-style Studio Classic. But used as a vehicle for strictly ’90s heaviness, it checks all the boxes at a fair and accessible price—especially when you consider the quality and extra versatility it delivers. . For players keen to explore the widest range of sounds, I’d argue it’s more versatile than the Studio Jubilee, and it’s an interesting alternative to the JCM800-style Studio Classic. But used as a vehicle for strictly ’90s heaviness, it checks all the boxes at a fair and accessible price—especially when you consider the quality and extra versatility it delivers.