A lightweight, low-powered combo amp with 3-band EQ, flexibility, and high headroom.Operating in Cathode Bias on a single JJ 6V6GT output tube; the new compact, 5 watt combos are a small format, light weight, low powered 110 combo amplifier that possesses professional grade tone, high headroom and maximum flexibility. Loaded with a 10” speaker by American boutique speaker company, WGS Speakers, the Spanky JR 6VEL is Cathode Bias and is compatible with virtually every octal-based power and rectifier tube. The Spanky JR 6VEL utilizes one each octal-based power and rectifier tube socket with supported power tubes including 6V6 (standard), EL34, 6L6, 5881, KT66. Supported rectifier tubes include 5Y3 (standard), 5U4, and 5AR4/GZ34. Other features include an American voiced preamp, 3-band EQ, and a tube driven spring reverb that features FLOOD MODE – turning the unit into a stand-alone all-wet reverb effect.FeaturesClean, American Voiced, High Headroom Preamp Section3-Band EQTube Driven Spring Reverb with Flood Mode SwitchSingle-ended 6VEL Cathode-biased Output Tube SectionRuns on 6V6 (standard), 6L6, EL34, 5881, and moreSelf-biasing means no adjustments when swapping tubes!Over-sized /Overbuilt Power Transformer and Power Supply5Y3 Tube Rectified as standard (5U4, GZ34 compatible)Hand-wired and Hand Built in Nashville, TNLimited Lifetime WarrantyAll 3rd Power amplifiers are hand-built in the USA and feature point-to-point turret board construction. Spanky JR 6VEL is now at introductory prices starting around $1899. For sound clips and more information, please visit www.3rdPower.com.

A multi-chorus/flanger pedal that features an original quad chorus design and a variety of “swimmy” sounding effects.Mojo Hand FX has unveiled their newest offering, the Swim Team multi- chorus/ flanger pedal. This new release features an original quad chorus design teamed up with a classically inspired flanger. The two programs are push button selected, and offer many variations of these two “swimmy” sounding effects. Classic early chorus effect is also attainable by using lower feedback in the Flanger setting, the Swim Team is designed to be one of the most versatile and easy to dial in modulation pedals of it’s kind.FeaturesPush button selection for Chorus or FlangerControls for Rate and Depth in each program.The Mix control for the Chorus doubles as a Feedback control in the Flanger setting. 9v Standard center negative power supply only (not included), no battery provisionTrue bypass with soft touch silent switching designDurable Aqua/Silver Vein powder coat finishMade in USA, lifetime warrantyDimensions: 4.31” L, 2.31” W, 1.19” HSwim Team Multi-Chorus/Flanger Pedal Demo – Colin Sapp – Mojo Hand FX $159 MAP/ street price. Go to mojohandfx.com for more info.

Hear Floridian blackened deathgrind project Coffin Nail provide a proper pounding.
The post Full-Album Stream: Coffin Nail – ‘Years of Lead’ appeared first on Decibel Magazine.

The blues-rock string-slinger’s ursine tone comes from Tom Anderson axes, an Orange Rocker 30 with a 2×10 bottom, a handful of pedals, and pure personal grit. Plus, why she’s started playing in 432 Hz tuning.We thought a grizzly bear had entered Nashville’s 3rd & Lindsley when Hannah Wicklund fired up her rig at soundcheck on March 20, when she headlined the club with her band the Steppin’ Stones. Luckily, it was just the rude tone of her Tom Anderson Guitarworks Guardian Angel model pumping through the sneer of her Orange head and cab, so … no carnage, but some echoes of classic Peter Green.Although Wicklund—who was the subject of a PG profile in 2018—has U.S. and Canadian tour dates scheduled through early September, this was a rare stop in the South Carolina native’s adopted home town. She’s also been at work on a sequel to her 2018 album, Hannah Wicklund & the Steppin’ Stones, which she says is a coming-of-age story that will accent both her songwriting and her feminine side, although still showcase her 6-string chemistry. And speaking of chemistry, there’s an almost mystical conversation about tuning in 432 Hz in the Rundown that you won’t want to miss.Wicklund’s alchemical adventure began when she was 9 and her father gifted her an Anderson model. Thirteen years later, she’s still loyal to the brand, so that’s a good place for our Rundown to start.[Brought to you by D’Addario Nexxus 360 Rechargeable Tuner: http://ddar.io/Nexxus.RigRundown]The Green TigerThis is Wicklund’s main silence-killer: a Tom Anderson Guardian Angel model with a wickedly striped finish. There’s a 5 db boost switch between the tone and volume controls, and the maple neck, with 24 jumbo frets, is slim and speedy. The instrument has a tremolo bridge, but Wicklund sometimes leaves the bar in the case.Flaming THer backup for the 3rd & Lindsley show was an Anderson Cobra T, with a single-cut mahogany body and a mahogany/rosewood neck of the same dimensions as her Angel. Wicklund says she finds both guitars fairly interchangeable, “but this one screams a little bit more,” with its double humbuckers. She also likes the contoured backs, for comfort. Her new, pink Anderson Raven model stayed home for this gig.The Cobra’s HeadNo fangs. Just an artful contour, 6 on a side, and a tastefully integrated blend of finish and logo.All in the FamilyHere’s a look at the nucleus of Wicklund’s burly tones: her Tom Anderson Cobra T and Guardian Angel, alongside her Orange Rocker 30 and 2×10 head.It’s in the WiresHer strings are D’Addario XL’s, gauged .011–.046.House RockerThis Rocker 30 head replaced a Rock 30 combo Wicklund had relied on but was mothballed when she decided she wanted the bigger blast and versatility of switching between 2×12 and 4×12 cabinets. Her settings: dirty volume at 11 o’clock , dirty hi at 10, dirty mid nearly at noon, dirty low nearly at 1, dirty gain at 1 o’clock, and natural volume at 1 o’clock.Head and ShouldersHere’s the head and cab. The cabinet has two 10″ Celestion speakers and is open-backed. She also has a closed-back version.All AboardWicklund’s pedalboard is stacked for knuckle-bruising. Once the signal gets past her MXR Talk Box and Dunlop JC95 Jerry Cantrell Signature Cry Baby, it hits the channel switch for her Orange head. That stays in overdrive mode for about 75 percent of her set, which she says gives her sound its grizzly-bear lows. Next up is a classic—a Boss BD-2 Blues Driver. But this one has a Robert Keeley mod that adds to and opens up the low end, and keeps mids and highs better defined. Wicklund is especially fond of deploying the BD-2 with some atmospheric help from her Dunlop EP103 Echoplex Delay on her song “Ghost.” Next, a J. Rockett Archer—one of the hardest working Klon clones in show business. She matches it with the Blues Driver for singing, biting solos. There’s also an MXR Micro Flanger and an Electro-Harmonix POG, which lend a very cool high overtone to bends. Since the Orange 30 is a ’verb-less head, Wicklund uses a T. Rex House Mate Tube Reverb pedal, which she keeps on a hall setting, situated next to her Peterson StroboStomp HD. You want more? There’s also an MXR Carbon Copy Analog Delay and a Keeley Rotten Apple op-amp fuzz pedal.BD EyesTake a look at the lower right corner of the control section. That’s the toggle that activates the Keeley mod.Guitar TalkOh! And back to that Talk Box. Here’s a close-up view of this classic device that is making a resurgence among psyche-retro-delic players. Wicklund really lays into the talker, turning heads with its gritty, warbling, lung-driven tones. In her early years onstage, playing in a classic rock cover band, she used the pedal to chase the signatures of Joe Walsh, Peter Frampton, Jeff Beck, and other notable Talk Box users.

In a new interview with the “Metal From The Inside” podcast, JUDAS PRIEST guitarist Richie Faulkner spoke about the progress of the songwriting sessions for the band’s follow-up to 2018’s “Firepower” album. He said (as transcribed by BLABBERMOUTH.NET): “It’s still in the process. And it’s been slowed down a lot because of, obviously, the pandemic. We wanted to get together, like we did on ‘Firepower’, and record it together, but, obviously, the lockdowns and everything like that slowed that process [down]. Some of us live in the U.S., some of us live in the U.K., so getting together proved to be a bit difficult over the last couple of years. Now everything is kind of opening up, it’s a bit easier, but now we’re on the road, so we’ve got a touring cycle [to get through]. So, if we can, we might be able to do it in between the touring cycles.”

As for when fans can expect to get the next PRIEST album, Faulkner said: “We don’t have a release date. It’s not finished. We’ve got the songs, but we’ve gotta record it. We’ve got drums down. I don’t know if that’s even been said yet. So we’re gonna try and build it up as we move through this touring cycle. But as Rob [Halford, PRIEST singer] always says, it’ll be finished when it’s finished. At this point in their career, there’s no point in rushing anything, especially when we’ve waited this long through the pandemic to start doing it. It’ll be done when it’s done. But there will be another PRIEST record. We’ve got some great songs.”

Regarding the musical direction of the new PRIEST material, Richie said: “It’s different to ‘Firepower’, but it’s definitely… You can hear where it’s coming from. It’s not even ‘Firepower 2’… It’s hard to say anything these days without people getting… If I say it’s like a continuation of ‘Firepower’, people think it’s ‘Firepower 2’. It’s got its own character, it’s got its own legs, and we’re looking forward to releasing it on to the world when it’s done.”

Last month, Halford was asked by Remy Maxwell of Audacy Check In if he agreed with Faulkner’s recent comment that the band’s upcoming album will be more musically “progressive” than “Firepower”. He responded: “Yeah, the metal is there. But here’s the thing: we’ve tried our best not to replicate anything that we’ve done. From ‘Rocka Rolla’ all the way through to ‘Firepower’, each record has had a distinctive character. And it’s tough because fans go, ‘We want another ‘Painkiller’,’ ‘We want another ‘British Steel’.’ And [it’s, like], ‘Dude, we’ve already done that.’

“Fans know that we’re a band that is always full of adventure and trying new stuff,” he continued. “And so, yeah, this has got probably some more progressive elements that we’ve never really delved into before. And that’s exciting, because, again, it gives us and our fans another opportunity to see a different side of PRIEST. But it’s still metal. There’s just more of it. There are more notes than there were before.”

Earlier last month, Faulkner told Canada’s The Metal Voice about the overall sound of the new PRIEST music: “Whenever you start a record, you never know how it’s gonna turn out. So you might start with an idea of what it’s gonna be, and as it kind of rolls on, it comes out something different. So you don’t quite know. And also it’s really hard to sum up your own music, I find, without sounding really pretentious. But I think this one — it’s not ‘Firepower 2’, I don’t think. It’s its own thing, it’s its own animal. If anything, I would say it’s a bit more progressive in places, and in places it’s got a bit more of that ‘Killing Machine’ swagger.”

Faulkner added: “I know everyone says, ‘Oh, is it the next ‘Painkiller’?’ or ‘Is it the next…?’ whatever… I don’t know if they’d ever done it, but I know we’ve never done it when I’ve been in the band; we’ve never tried to recreate an album. It’s always we try to create an album that stands on its own legs. So I think it’s definitely a little bit more progressive than ‘Firepower’ and, as I said, in places it’s got a little bit of that ‘Killing Machine’ angry swagger attitude going on. But again, as I said, we’re waiting to see what it turns out like, ’cause it could turn out completely different.”

A year ago, Halford confirmed that PRIEST’s next album will see the band reuniting with the “Firepower” production team consisting of Andy Sneap, longtime collaborator Tom Allom and engineer Mike Exeter (BLACK SABBATH).

Bassist Ian Hill is the sole remaining original member of PRIEST, which formed in 1969. Halford joined the group in 1973 and guitarist Glenn Tipton signed on in 1974. Rob left PRIEST in the early 1990s to form his own band, then came back to PRIEST in 2003. Founding guitarist K.K. Downing parted ways with the band in 2011, and was replaced by Faulkner.

Tipton was diagnosed with Parkinson’s disease eight years ago after being stricken by the condition at least half a decade earlier. Tipton announced in early 2018 he was going to sit out touring activities in support of “Firepower”. He was replaced by Sneap, who is also known for his work in NWOBHM revivalists HELL and cult thrash outfit SABBAT.

Faulkner suffered an acute cardiac aortic dissection during the band’s performance at the Louder Than Life festival in late September. He was was rushed to the UofL Health – Jewish Hospital where the cardiothoracic surgery team needed approximately 10 hours to complete a life-saving surgery.