Digital approximations of analog modulation classics in an easy-to-use, compact package.

Super simple, compact design with solid digital approximations of hard-to-replicate analog sounds. Fair price.

Flanger could benefit from a little extra control.

Mojo Hand FX Swim Team mojohandfx.com

While it’s not a stated part of their mission, Mojo Hand FX seems to prize simplicity in their pedals. Many Mojo Hand pedals that could be more complex to take advantage of digital processing possibilities are just three knobs and a push button. And while this isn’t the only layout the company utilizes, it’s employed effectively on pedals like the Deluxe Memory Man-inspired Dream Mender to distill a more complex analog stompbox to its essence. The Mojo Hand Swim Team, a digital chorus and flanger inspired by the Electro-Harmonix Polychorus, Echoflanger, and Small Clone, uses the same 3-knob layout to make summoning classic and powerful modulation sounds easy.

Wade in the Water The Swim Team’s graphics are a clear homage to Nirvana’s Nevermind. Mojo Hand also sells a limited negative-image, black-and-white “bleached” edition (though Bleach, Nirvana’s first LP, is graced by little if any chorus or flange effects). While Kurt Cobain didn’t use a lot of pedals, he was no stranger to chorus and flange. They helped define the sound of Nevermind and In Utero, in particular, and Cobain used the EHX Small Clone, Polychorus, and Echoflanger at various points in his career. Heck, I’d wager a generation of guitarists were turned on to the effect from the opening notes of “Come as You Are” alone. Mojo Hand FX Swim Team Review by premierguitar Chorus setting: Mix & Depth at 1 o'clock, variable RateFlanger setting: Mix & Depth at 1 o'clock, variable Rate The Swim Team uses just three basic controls: depth, rate, and mix/feedback. The latter changes duties depending on which effect is activated with the chorus/flanger button. It’s simpler than a Polychorus or Echoflanger (forgoing the “tune” knob, “filter matrix,” and “double track” modes on those pedals), but simpler than a Small Clone. Simplicity does have some drawbacks: If you plan to change between the two effects in a live situation, there’s no visual cue to reveal which effect is employed. The bypass LED, for instance, doesn’t change color. The Swim Team uses just three basic controls: depth, rate, and mix/feedback. The latter changes duties depending on which effect is activated with the chorus/flanger button. It’s simpler than a Polychorus or Echoflanger (forgoing the “tune” knob, “filter matrix,” and “double track” modes on those pedals), but simpler than a Small Clone. Simplicity does have some drawbacks: If you plan to change between the two effects in a live situation, there’s no visual cue to reveal which effect is employed. The bypass LED, for instance, doesn’t change color.Shallows and Depths The first thing I had to do when I plugged the Swim Team in was fish around for those eerie Nirvana sounds. Plugged into a ’60s Fender Bassman with a ’90s MIJ Fender Jaguar, the quivering tones of “Come as You Are” were easy to summon with all of the knobs between 12 and 1 o’clock positions and the chorus engaged. And if you want to coax the tones of Kurt’s famous live “anti-solo” freakouts, maxing out the rate and depth and pairing the pedal with a ProCo RAT does an excellent job. I also spent a lot of time trying to capture the chaotic warble heard on live renditions of the “Heart Shaped Box” solo. And though there are a lot of ingredients in the tone soup of any live recording, I couldn’t quite summon the thickness of a vintage Polychorus with the Swim Team and RAT alone. My favorite tones in the flanger department came around with the rate in 9 o’clock territory and depth at noon, which generates a subtle rise-and-fall texture that gives power chords extra glow and single notes a little extra magic. The output starts to get a little chattering-elves crazy once you roll the rate clockwise past 3 o’clock. But most rate settings remain practical and easy to adapt to an existing guitar tone throughout the knob’s sweep. Part of this agreeability in flange mode (which is generally a good thing) makes the Swim Team less suited for over-the-top flange. And if you’re after pitchy, high-frequency peaks and outlandish jet-whoosh, you might want to look to more radical options. That said, I found humbuckers deliver a deeper, richer whoosh from the flanger— especially with lower rate settings. So be sure to try Swim Team with your own rig to see how they match up.The Verdict Mojo Hand FX’s Swim Team sells for $159, which is a pretty fair price for the two rich modulation voices that approximate classic, sought-after sounds in stable digital platforms. Both effects sound great in the kind of relatively straight applications you hear in vintage recordings. And the chorus, in particular, is lush and spirited. The flanger covers the basics with ease, but I did miss some of the idiosyncrasies that can make flangers sound so radical and unique, like the metallic bark from an old bucket brigade Electric Mistress. Then again, vintage analog units can be quirky and unreliable. And even their newer BBD counterparts can be pretty expensive. Given that, this compact and streamlined multi-modulator merits praise for offering a design that cuts the extra fat and extra expense.

The Swim Team’s graphics are a clear homage to Nirvana’s Nevermind. Mojo Hand also sells a limited negative-image, black-and-white “bleached” edition (though Bleach, Nirvana’s first LP, is graced by little if any chorus or flange effects). While Kurt Cobain didn’t use a lot of pedals, he was no stranger to chorus and flange. They helped define the sound of Nevermind and In Utero, in particular, and Cobain used the EHX Small Clone, Polychorus, and Echoflanger at various points in his career. Heck, I’d wager a generation of guitarists were turned on to the effect from the opening notes of “Come as You Are” alone.

The Swim Team uses just three basic controls: depth, rate, and mix/feedback. The latter changes duties depending on which effect is activated with the chorus/flanger button. It’s simpler than a Polychorus or Echoflanger (forgoing the “tune” knob, “filter matrix,” and “double track” modes on those pedals), but simpler than a Small Clone. Simplicity does have some drawbacks: If you plan to change between the two effects in a live situation, there’s no visual cue to reveal which effect is employed. The bypass LED, for instance, doesn’t change color.

The Swim Team uses just three basic controls: depth, rate, and mix/feedback. The latter changes duties depending on which effect is activated with the chorus/flanger button. It’s simpler than a Polychorus or Echoflanger (forgoing the “tune” knob, “filter matrix,” and “double track” modes on those pedals), but simpler than a Small Clone. Simplicity does have some drawbacks: If you plan to change between the two effects in a live situation, there’s no visual cue to reveal which effect is employed. The bypass LED, for instance, doesn’t change color.

The first thing I had to do when I plugged the Swim Team in was fish around for those eerie Nirvana sounds. Plugged into a ’60s Fender Bassman with a ’90s MIJ Fender Jaguar, the quivering tones of “Come as You Are” were easy to summon with all of the knobs between 12 and 1 o’clock positions and the chorus engaged. And if you want to coax the tones of Kurt’s famous live “anti-solo” freakouts, maxing out the rate and depth and pairing the pedal with a ProCo RAT does an excellent job. I also spent a lot of time trying to capture the chaotic warble heard on live renditions of the “Heart Shaped Box” solo. And though there are a lot of ingredients in the tone soup of any live recording, I couldn’t quite summon the thickness of a vintage Polychorus with the Swim Team and RAT alone.

My favorite tones in the flanger department came around with the rate in 9 o’clock territory and depth at noon, which generates a subtle rise-and-fall texture that gives power chords extra glow and single notes a little extra magic. The output starts to get a little chattering-elves crazy once you roll the rate clockwise past 3 o’clock. But most rate settings remain practical and easy to adapt to an existing guitar tone throughout the knob’s sweep. Part of this agreeability in flange mode (which is generally a good thing) makes the Swim Team less suited for over-the-top flange. And if you’re after pitchy, high-frequency peaks and outlandish jet-whoosh, you might want to look to more radical options. That said, I found humbuckers deliver a deeper, richer whoosh from the flanger— especially with lower rate settings. So be sure to try Swim Team with your own rig to see how they match up.

Mojo Hand FX’s Swim Team sells for $159, which is a pretty fair price for the two rich modulation voices that approximate classic, sought-after sounds in stable digital platforms. Both effects sound great in the kind of relatively straight applications you hear in vintage recordings. And the chorus, in particular, is lush and spirited. The flanger covers the basics with ease, but I did miss some of the idiosyncrasies that can make flangers sound so radical and unique, like the metallic bark from an old bucket brigade Electric Mistress. Then again, vintage analog units can be quirky and unreliable. And even their newer BBD counterparts can be pretty expensive. Given that, this compact and streamlined multi-modulator merits praise for offering a design that cuts the extra fat and extra expense.

Watch John Bohlinger test out the range and roar of these high-quality, sweet-spot boxes.

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The Trigger Fly Capo builds on the original Trigger Capo—Dunlop’s most popular capo design—designed for better handling and tuning stability.

First released in 1995, the original Dunlop Trigger Capo quickly became the go-to for live performances—it can be placed anywhere with a quick squeeze of the hand thanks to its sleek, lightweight design and balanced tension. The Trigger Fly Capo takes all of that to the next level with a more ergonomic grip, a specially engineered spring mechanism for precise, even pressure and easy placement, and an optimized rubber pad that allows notes and chords to ring out with smooth clarity up and down the fingerboard.

For more information, please visit jimdunlop.com.

Ever wonder what an Australian muscle car sounds like? Let party-punk guitarist Declan Martens provide the burning-rubber details.

Amyl and the Sniffers are pragmatic. They rock fast and write and record even faster. Legend has it they knocked out their debut EP, 2016’s Giddy Up, from start to finish in just 12 hours in the band’s shared home. And their Australian Recording Industry Award-winning (Best Rock Album) self-titled full-length debut is a sweltering, swaggering, scallywag’s set of 11 songs that clock in at 30 minutes. During Australia’s Covid shelter-in mandate, the frenzied foursome locked themselves in their home once again to pen 13 rambunctious-yet-buffed jams that combine blazers with slow burns. Regardless of tempo, danger lurks in their every note and word. With the disregard of Iggy, the venom of Lemmy, and power of Angus, their live performances are tornadic events. Lead singer Amy Taylor is the charismatic lightning, while guitarist Declan Martens, bassist Gus Romer, and drummer Bryce Wilson are the locomotive thunder.

Hours before Amyl and the Sniffers’ headlining set at Nashville’s Brooklyn Bowl, Martens invited PG’s Chris Kies stage right to chronicle his Hemi-like setup. In this episode, we meet his paired live instruments from Gibson, unwrap the story behind his “Excalibur” pedal, and understand Martens’ MO to work smarter, not harder.

For nearly every show with Amyl and the Sniffers, Declan Martens played a raggedy Strat that was loaded with a Seymour Duncan Hot Rails in the bridge. And on top of that, it’s been featured on all their recordings. That changed in April 2022 when Gibson approached Martens to test drive some of their models. He landed on a daring pair with roots in 1958 that includes this Gibson Explorer in antique natural. It has all-mahogany construction with a rosewood fretboard. The stock Burstbucker 2 (neck) and Burstbucker 3 (bridge) pickups are in place, but the neck humbucker has been disconnected so he can use the selector as a kill switch.

The second gift from Gibson was this brand-new Flying V that employs the same recipe as the Explorer, with a mahogany body and neck in antique natural, a rosewood fretboard, and Burstbuckers 2 and 3. Martens notes in the Rundown that the Explorer has been seeing more stage time and the V has been reserved for backup duties, but admits that could change at any point.

He once went with coated Elixir strings for their longevity, but he’s been trialing .010–.046 sets from the D’Addario NYXL and Ernie Ball Paradigm families. Martens did mention that he played .010–.052s on the Strat, but found that Gibson’s compact scale length allowed him to reduce to standard .10s. They typically stay in half-step-down tuning, but do venture into drop C# for “Capital.”

That’s Martens and Marshall. He prefers plugging into JMPs for his love of ’70s rock and punk, but for this U.S. run he’s backlining with a pair of modern JCM800s. Each head is set to stun and firing through a deuce of Marshall 4x12s (1960AVs on top and 1960BVs on bottom) that are carrying Marshall G12 Vintage by Celestion speakers. Martens remarks that he’d ideally run the heads into Marshall 1960AX and BX 4x12s, because they come with 25W Celestion G12M-25 Greenbacks that are more “AC/DC than Guns N' Roses.”

Before the band’s first international performance, at The Great Escape festival in Brighton, UK, Martens told their tour manager he needed to find a volume boost/gain pedal. As luck would have it, at the end of the street they were staying on sat a pawnshop. In one of its window displays rested this nondescript home-build. A spontaneously serendipitous spark hit Martens and he purchased the stomp. He plugged it into his rig and was floored: “It wasn’t just something that I liked. I was like ‘holy shit, I love this.’”

Declan says he’s deduced from tinkering that this is a hybrid clone combo that sits between a MXR Distortion+ and DOD Overdrive Preamp 250. He describes it as being a “high midrange boost with hectic gain.” He claims it’s the secret sauce for the studio and values it too much to tour with. However, he did have it in a small case for this run and is tempted to put it into action because he’s missing it.

Declan doesn’t need much to party—proven with this baby board that holds a MXR Carbon Copy Mini, an always-on Electro-Harmonix Soul Food, and a clone of his beloved booster/gain gooser. The TC Electronic PolyTune 2 Noir keeps his Gibbys in check and is actually third in line behind the clone and Soul Food. Everything hits the front of the amp, as he doesn’t use effects loops to keep his tech time at a minimum.

Gibson unveils the new Gibson Original Collection Faded Series of electrics and acoustics.

The new Les Paul Standard 50s Faded returns to the classic design that made it relevant, played, and loved -- shaping sound across generations and genres of music. It pays tribute to Gibson's Golden Era of innovation and brings authenticity back to life. The Les Paul Standard 50s features a satin nitrocellulose lacquer finish that gives it the look and feel of a long-treasured musical companion. It has a solid mahogany body with an AA figured maple top and a rounded 50s-style mahogany neck with a rosewood fingerboard and trapezoid inlays. It's equipped with an ABR-1 Tune-O-Matic bridge, an aluminum Stop Bar tailpiece, Vintage Deluxe tuners with Keystone buttons, and gold Top Hat knobs with dial pointers. The open-coil Burstbucker 1 (neck) and Burstbucker 2 (bridge) pickups are hand-wired to audio taper potentiometers and Orange Drop capacitors.

The new Les Paul Standard returns to the classic design that made it relevant, played, and loved --shaping sound across generations and genres of music. It pays tribute to Gibson's Golden Era of innovation and brings authenticity back to life. The Les Paul Standard 60s features a satin nitrocellulose lacquer finish that gives it the look and feel of a long-treasured musical companion. It has a solid mahogany body with an AA figured maple top and a SlimTaper 60s-style mahogany neck with a rosewood fingerboard and trapezoid inlays. It's equipped with an ABR-1 Tune-O-Matic bridge, aluminum Stop Bar tailpiece, Grover® Rotomatic "Kidney" tuners, and gold Top Hat knobs with Silver Reflectors and Dial Pointers. The open-coil 60s Burstbucker pickups are loaded with Alnico 5 magnets and hand-wired to audio taper potentiometers and Orange Drop capacitors.

The SG Standard ‘61 Faded Maestro Vibrola returns to the classic design that made it relevant, played, and loved -- shaping sound across generations and genres of music. It features a satin nitrocellulose lacquer finish that gives it the look and feel of a long-treasured musical companion. As the name implies, the Gibson SG Standard '61 Faded Maestro Vibrola also adds vibrato capability. The Maestro Vibrola offers smooth vibrato effects and the classic styling of the Lyre engraving on the tailpiece cover. Standard features include a SlimTaper mahogany neck and a bound rosewood fingerboard. The mahogany body features a deeply sculpted body scarfing, a 5-ply teardrop pickguard, and a 22nd-fret neck joint. The nickel-plated hardware includes an ABR-1 Tune-O-Matic bridge and Keystone tuners in addition to the Maestro Vibrola Tailpiece. The pickups are open-coil 60s Burstbucker humbuckers™ for a classic voice with added power and top end. Controls feature audio taper potentiometers and Orange Drop capacitors.

The J-45 is Gibson's best-selling acoustic of all time. Nicknamed "The Workhorse" and first introduced in 1942, this iconic acoustic has become the cornerstone of its round-shoulder, dreadnought line. World-renowned for its full, balanced expression, warm bass, and excellent projection, the J-45 has been refined to carry this legacy to new heights. The Gibson J-45 50s Faded delivers full-spectrum sound with incredible dynamic range, warm mids, and tight, punchy bass. Now available with a faded satin nitrocellulose lacquer finish that accentuates the guitar's vintage vibe and equipped with a modern LR Baggs pickup and electronics package for studio and stage use. A hardshell case is also included.

The J-35 evolved from the Jumbo in 1936, a time when the Great Depression was still wreaking havoc on Americans. Gibson developed the J-35 to be a pared-down model that still offered musicians a warm and balanced instrument. The J-35 30s Faded delivers every bit of the seasoned, vintage look, feel, and sound of our iconic J-35, with a satin nitrocellulose finish that only adds to its rich legacy and undeniable vintage vibe. Discerning flattop players will love the rich, full-bodied tone from this vintage-inspired, round-shoulder beauty, along with its superb playability and simple aesthetic charm. Includes a hardshell case.

The unmistakable Gibson Hummingbird is followed by the masses as one of the most remarkable acoustic guitars ever built. The new Hummingbird Faded blends vintage appointments and today's modern, high-quality build construction. The Hummingbird Faded is outfitted with gold Gotoh Keystone tuners, a traditional Hummingbird truss rod cover, and a bone nut and saddle. The built-in LR Baggs VTC electronics make this guitar stage and studio-ready, right out of the included hardshell case.

For more information, please visit gibson.com.