Edge of Breakup
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Browne Amplification Carbon Overdrive
One of my favorite overdrives of all time. The Browne Amplification Carbon is a deceptively simple three-knob pedal that hides an enormous tonal range in every position of every knob. Welcome back to Edge of Breakup.
In this episode the Browne Amplification Carbon Overdrive takes center stage — running into my Nash T63 Telecaster with Lollar Vintage Neck and Special Bridge, Emerson Custom 4-Way Wiring Kit and Treble Bleed, into my Benson Amps Monarch and Benson 2x12" cabinet.
The Carbon is a standalone version of the "Blue" channel of Browne Amplification's celebrated Protein Dual Overdrive — a heavily modified Bluesbreaker-inspired circuit that has been painstakingly refined to address some of the issues commonly associated with the 1990s Marshall Bluesbreaker, while maintaining the open, amp-like feel that made the original circuit famous. The circuit was inspired by a legendary voicing favored by John Mayer on the Continuum album.
Three controls: Volume, Gain, and Tone. The higher the gain is set, the brighter the timbre of the pedal will be. This relationship between Gain and Tone is the key to the Carbon's character — they're in constant conversation. High Gain with Tone rolled back gives you a full, mid-forward drive that sits beautifully in a band mix. Low Gain with Tone maxed opens up the top end for a bright, clear presence. Pull Gain back and push Level past unity and the Carbon becomes a pure amp enhancer — slamming your front end with level, EQ, and JFET character while keeping the overdrive character entirely from the amp's preamp.
The Carbon absolutely excels as an always-on enhancer for a clean amp — the luscious lower mids and singing top end are there even at low gain settings, reshaping the feel and response of whatever amp it's in front of. A Telecaster into a pushed Benson Monarch with this pedal as the EQ and gain stage is as good as it sounds.
🎛️ Browne Amplification Carbon: https://browneamps.com/thecarbon
🎸 Nash Guitars T63: https://nashguitarsusa.com
🎸 Lollar Pickups: https://www.lollarguitars.com
🔧 Emerson Custom 4-Way Kit: https://emersoncustom.com
🔊 Benson Amps Monarch: https://www.bensonamps.com/amps/monarch
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🎸 Nash T63 Telecaster | Lollar Vintage Neck + Special Bridge | Emerson Custom 4-Way + Treble Bleed
🎛️ Browne Amplification Carbon | Bluesbreaker-Inspired Overdrive | 3 Knobs
🔊 Benson Amps Monarch | Benson 2x12" Cabinet
Recording: Royer R121 & SM57 on grille | Royer R10 on back off-axis | Universal Audio Apollo x4
Catalinbread Belle Epoch Deluxe
The Echoplex EP-3 is one of the most coveted tape echo units in history. The Catalinbread Belle Epoch Deluxe is the closest a pedal has ever come to putting one on your board — and then it keeps going. Welcome back to Edge of Breakup.
In this episode the Catalinbread Belle Epoch Deluxe takes center stage — running into my Prisma Guitars Sunset with Lollar Gold Foil pickups, into my Benson Amps Vincent.
The Maestro Echoplex EP-3 was the tape echo of the 1970s. David Gilmour, Jimmy Page, Eddie Van Halen — the EP-3 defined the sound of electric guitar through the period as much as any amp. Players have chased its preamp as much as its echo: the JFET preamp, mixer stage, and high-gain silicon transistor record and playback amplifiers impart a warmth, openness, and three-dimensional quality to every signal that passes through, even with no echo engaged.
The Belle Epoch Deluxe reproduces that signal chain component by component. The 9V DC power is converted to 22V internal rails via a voltage tripler — exact to the original EP-3 spec. A 24-bit high-fidelity digital delay line replaces the tape cartridge. Every other stage is analog and faithful to the original.
Six echo programs expand the EP-3 foundation significantly:
Mode 1 — Classic EP-3 Echoplex. The original tape echo character, wow and flutter included, with that JFET preamp coloring everything.
Mode 2 — Analog/BBD-voiced delay. Warmer, darker, with a subtle chorus quality on the repeats.
Mode 3 — Roto Swirl. The delay signal passes through a rotary cabinet simulation. Expression pedal controls rotary speed.
Mode 4 — Resonant Filter Sweep. The repeats are swept through a resonant filter, manually or via expression pedal.
Mode 5 — DMM Chorus (Deluxe Memory Man-voiced).
Mode 6 — DMM Vibrato.
A second footswitch triggers momentary self-oscillation, tunable via internal trimpot. Expression pedal — sold separately, used here with a newly acquired Catalinbread tap switch — controls delay time, echo volume, rotary speed, or filter sweep depending on the program.
🎛️ Catalinbread Belle Epoch Deluxe: https://catalinbread.com/products/belle-epoch-deluxe
🎸 Prisma Guitars Sunset: https://www.prismaguitars.com/collections
🎸 Lollar Gold Foil Pickups: https://www.lollarguitars.com/gold-foil
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Prisma Guitars Sunset | Lollar Gold Foil Pickups
🎛️ Catalinbread Belle Epoch Deluxe | Echoplex EP-3 | 6 Echo Programs | JFET Preamp | 22V Rail
🔊 Benson Amps Vincent
Total Gravy Guitarworks | Early PAF Humbuckers
Episode 5 of the Gibson SG Humbucker Hunt — and this time it's Total Gravy Guitarworks out of Fullerton, California. Welcome back to Edge of Breakup.
Total Gravy Guitarworks Early PAF set: https://www.totalgravy.com/store/p8/Early_P.A.F._Set.html
The hunt so far:
Ep. 1 — Stock Gibson Burstbuckers: https://youtu.be/xcC6wLci1DY
Ep. 2 — Seymour Duncan Antiquities: https://youtu.be/ntlHT09FXxA
Ep. 3 — Fralin Pure PAF: https://youtu.be/lPHmESPyyxs
Ep. 4 — Lollar El Rayo: https://youtu.be/RoC8PYLQI6c
Total Gravy Guitarworks was started in 2015 by Derek with a single mission: recreate the classic vintage pickup tones that inspired players to pick up the guitar in the first place. Every pickup is handmade to order in Fullerton, CA using period-correct materials and NOS coil wire. The Early PAF targets the character of the 1957-1959 Patent Applied For humbuckers — the original Seth Lover design, pre-wax-potted, scatter-wound on Leesona machines, with unevenly wound coils that produced the complex harmonic response and open top end that defines the PAF sound.
The Gibson SG Standard '61 Reissue has been substantially modified from stock. StewMac Locking Kluson tuners and a StewMac bone nut addressed the tuning stability. Emerson Custom SG Wiring Kit throughout, with Emerson Custom Treble Bleed on both volume knobs to preserve top end during volume cleanup. TonePros ABR-1 replacement saddle with nylon saddles replaces the original stop tail hardware.
The R2R Electric R2RGeMaster Treble Booster (@djlavalamp) joins from chapter 5 — NOS Philips/Mullard AC107 germanium transistors, Dallas Rangemaster circuit, 6-position NOS input capacitor switch, running into the Benson Amps Monarch.
🎸 Total Gravy Guitarworks: https://www.totalgravy.com
🔊 Benson Amps Monarch: https://www.bensonamps.com/amps/monarch
🎛️ R2R Electric R2RGeMaster: https://www.r2relectric.com
Subscribe for more boutique tone explorations.
🎸 Gibson SG Standard '61 Reissue | Total Gravy Guitarworks Early PAF Set | Emerson Custom Wiring
🎛️ R2R Electric R2RGeMaster | NOS AC107 | 6-Position Capacitor Switch
🔊 Benson Amps Monarch
Acorn Amps Bweep Fuzz
The world's smallest Fuzz Face-style pedal — and one of the best. The Acorn Amps BWEEP takes up 2 square inches on your board and sounds like nothing that small has any right to. Welcome back to Edge of Breakup.
In this episode the Acorn Amps BWEEP Mini Fuzz takes center stage. This is Acorn's follow-up to their groundbreaking Solid State amp-in-a-pedal, and they've applied the same philosophy: maximum tone, minimum footprint.
The BWEEP is a modded Fuzz Face circuit crammed into a thick diecast aluminum enclosure assembled with Lumberg jacks and a robust latching footswitch. Two controls: Volume and Fuzz. That's it. Which is exactly all you need when a pedal is this responsive to your guitar's volume and tone controls and pickup selection. Roll back your guitar volume and the BWEEP cleans up beautifully — from full singing fuzz sustain all the way back to gritty boost territory in one smooth sweep. Pickup switching adds another dimension of tonal variation without touching a single knob on the pedal.
The Fuzz control sweeps from gritty boost tones through aggressive crunch and into thick, singing lead sustain. Volume provides plenty of output to push your amp as hard as you want. 9VDC powered, less than 10mA current draw. The entire enclosure is smaller than a TC PolyTune or a tap tempo switch.
Note: The BWEEP is now discontinued from Acorn Amps. If you want a sonically similar circuit, Acorn points to their current lineup. Grab a used BWEEP while you can.
🎛️ Acorn Amps: https://www.acornamps.com
🎛️ Acorn Solid State (amp-in-a-pedal): https://www.acornamps.com/gear/solid-state-amppreamp-pedal
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🎛️ Acorn Amps BWEEP Mini Fuzz | Modded Fuzz Face | 2 Square Inches | Atlanta, Georgia
Dominion Electric Dominion Fuzz
Germanium or silicon? For the first time, you don't have to choose. The Dominion Electric Dominion Fuzz puts both circuits in one enclosure and lets you switch between them on the fly. Welcome back to Edge of Breakup.
In this episode the Dominion Electric Dominion Fuzz takes center stage. Guitar and rig details in the chapters — this description is about what makes this pedal genuinely different.
The Dominion Fuzz is Aaron's take on the classic Fuzz Face circuit, built one at a time in Canada with NOS Allen-Bradley carbon composition resistors, Wima capacitors, a 2oz copper trace PCB with gold pads, and two fully independent circuits — one NOS germanium, one NOS silicon — each with its own set of internal trimmers.
The germanium/silicon toggle is the headline feature. Both circuits are independently tunable via internal trimmers: a Bias control that tailors the character of the fuzz, and a Pre-Gain control that functions like your guitar's volume knob to clean up the circuit at rest. Set both to taste, save them, and switch between them live with a flick of the top-side switch. For players who gig in variable temperatures — where germanium's sensitivity to heat can cause unpredictable behavior — the silicon circuit is a fully dialed-in backup, not an afterthought. And the silicon circuit here earns its place on merit: extraordinary attack and the most musical treble-bleed cleanup of any silicon fuzz circuit I've played.
The fuzz control's sweep has been deliberately redesigned. Most Fuzz Face-style circuits have a fuzz knob that's either on or off — everything useful happens in the last 10% of the sweep. Aaron reworked the gain span to open up the full range of the knob, making every position sonically useful and giving players access to the micro-climates of fuzz gain that define the character of this style of circuit.
Two face controls: Level and Fuzz. Clean, pedalboard-friendly enclosure with top jacks. Gorva soft-click footswitch. Handmade — small variances in finish between units. Visual design by Thierry L'Écuyer.
🎛️ Dominion Electric Dominion Fuzz: https://dominionelectric.co/products/dominion-fuzz-white
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🎛️ Dominion Electric Dominion Fuzz | NOS Germanium + Silicon | Dual Independent Circuits | Made in Canada
Walrus Audio Mira Compressor
Compressors have a reputation problem on guitar boards. Too squashy, too transparent, too easy to set wrong and ruin your dynamics. The Walrus Audio Mira is the compressor that brought me back. Welcome back to Edge of Breakup.
In this episode the Walrus Audio Mira Optical Compressor gets its first impressions demo — alongside the debut of my brand new Giordano Guitars '60s S-Model, handmade by Nicolas Giordano in Italy. The finest single-coil guitar I've ever played.
The Mira is an analog optical compressor with studio-grade controls in a pedalboard enclosure, running internally at ±15V DC for increased headroom. Seven knobs and one side-chain switch cover every parameter you'd find on a professional studio compressor.
Threshold sets where compression begins based on input level. Ratio controls the amount of gain reduction above that threshold. Attack determines how fast the compressor engages after the signal crosses the threshold — slow attack lets the initial transient through before squashing, which keeps your pick attack alive. Release controls how quickly the compressor lets go after the signal drops below threshold — longer release creates singing, sustained notes. Make-Up compensates for volume lost through compression, maintaining unity or adding boost. Level controls overall output.
The Blend knob is what makes the Mira genuinely useful for guitar: at fully counter-clockwise you're running pure dry signal, at fully clockwise you're fully compressed with no dry. Parallel compression — blending a small amount of heavily compressed signal with your clean tone — is how studio engineers get sustain and clarity simultaneously without the squashed quality that makes aggressive compression feel wrong under a guitar. The Mira makes that technique trivially easy.
The Sidechain High-Pass Filter button removes frequencies below 120Hz from triggering the compressor. On guitar, this means your low strings and low-mid body don't over-trigger the compression, keeping low-end dynamics natural while the high-mids and treble get the sustain treatment. A gain-reduction LED provides visual feedback on how hard the compressor is working.
🎛️ Walrus Audio Mira: https://www.walrusaudio.com/products/mira-optical-compressor
🎸 Giordano Guitars: https://www.instagram.com/_giordanoguitars_/
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🎸 Giordano Guitars '60s S-Model (Debut) | Handmade in Italy by Nicolas Giordano
🎛️ Walrus Audio Mira | Analog Optical Compressor | ±15V | 7 Controls | HPF Sidechain
Cunningham Amps MK1.6 (Texas Instruments 2N404 Germanium Transistors)
The missing link between two of the greatest fuzz circuits ever made — built by hand in New Zealand. Welcome back to Edge of Breakup.
In this episode the Cunningham Amps MK 1.6 Germanium Fuzz takes center stage — running into my Benson Amps Monarch with NOS Tung Sol tubes, with the Benson Tall Bird running in the Boss Waza Tube Amp Expander effects loop for tube reverb, through my Nash S63 Stratocaster with Lollar Vintage Blonde neck and middle, Lollar Special Strat bridge, and Emerson Custom Treble Bleed.
The MK 1.6 is Tim Cunningham's deeply considered bridge between two mid-1960s legends. The Dallas Arbiter Fuzz Face — two transistors, four resistors, the most intimate and touch-sensitive fuzz circuit ever built — defined one end of the classic British fuzz spectrum. The Sola Sound Tone Bender MK 1.5 — the evolutionary predecessor to the MKII, with a booster gain stage driving the fuzz — defined the other. The MK 1.6 sits in the fertile territory between them: the germanium warmth and extraordinary cleanup response of a Fuzz Face combined with the searing, ripping bark of the MK 1.5 Tone Bender.
Built on a hand-etched board with premium components throughout, the MK 1.6 is individually voiced to its specific pair of transistors — these are NOS Texas Instruments 2N404 germanium devices, and no two MK 1.6 pedals are exactly alike. Each is hand-built by Tim Cunningham one at a time in Auckland, New Zealand. Battery powered only, with an on/off switch that disconnects the battery from the circuit when a cable is plugged in — safe to leave wired on your board.
Controls are Attack (fuzz gain, from subtle crunch to full searing saturation) and Level (overall output, with significant headroom to slam your amp). Cleaning up from your guitar's volume knob is the primary expressive tool — the germanium circuit responds to guitar volume in a way no modern fuzz can replicate. The three gain modes explored in this demo reveal how different the MK 1.6's personality becomes across its range.
Every pedal ships with a handmade padded carry bag, signed and numbered certificate of authenticity, and instruction card.
🎛️ Cunningham Amps MK 1.6: https://www.cunninghamamps.co.nz/product-page/mk-1-6-fuzz-olive-drab-pre-order
🎸 Nash Guitars S63: https://nashguitarsusa.com
🎸 Lollar Vintage Blonde & Special Strat: https://www.lollarguitars.com
🔊 Benson Amps Monarch: https://www.bensonamps.com/amps/monarch
Subscribe for more boutique tone explorations.
🎸 Nash S63 | Lollar Vintage Blonde (Neck & Middle) + Special Bridge | Emerson Custom Treble Bleed
🎛️ Cunningham Amps MK 1.6 Germanium Fuzz | NOS TI 2N404 | Hand-Built New Zealand
🔊 Benson Amps Monarch (NOS Tung Sol) | Boss Waza TAE | Benson Tall Bird
J Rockett Audio El Hombre Overdrive
Texas Blues guitar tone for days. The J. Rockett Audio Designs El Hombre is a three-knob overdrive with a deceptively wide range — and it earns every inch of it. Welcome back to Edge of Breakup.
In this episode the J. Rockett El Hombre takes center stage, running into my Nash S63 Stratocaster with Lollar Vintage Blonde neck and middle, Lollar Special Strat bridge, Emerson Custom Treble Bleed, and KingTone Switch, into my Benson Amps Vincent 2x12" cab.
The El Hombre's origin: J. Rockett was deep in the early ZZ Top catalog — First Album, Tres Hombres, Fandango — when the circuit came together. The bearded Texas legend in the name is Billy Gibbons, and the pedal captures the warm, dynamic, slightly fuzzy overdrive character that defines his classic tone. Three knobs, enormous range.
Gain controls the drive level — and the El Hombre spans it honestly, from clean-ish blues crunch to wide open rock saturation. Volume handles output. The Bite control is the voice engine: clockwise gets increasingly aggressive, forward and biting — think Plexi-style attack. Counter-clockwise gets smoother, warmer, and more reminiscent of Dumble-style creamy saturation. The interaction between Gain and Bite creates a genuinely unusual range of overdrive characters from three simple knobs.
The inversion trick is key: push Volume high and pull Gain back, and the El Hombre becomes a preamp — slamming the front end of the amp with level rather than clipping. Pull Gain and drop Volume for the smooth Carlton/Ford sound. The El Hombre is designed to behave like a real amp, not a circuit, and in that it largely succeeds.
Guitar World reviewed it as "a tribute to Billy Gibbons with flexibility that lends itself to many styles beyond Texas blues and boogie." That's accurate — the Bite knob alone spans enough territory that it's a different pedal in different positions.
🎛️ J. Rockett Audio El Hombre: https://rockettpedals.com/el-hombre/
🎸 Nash Guitars S63: https://nashguitarsusa.com
🎸 Lollar Vintage Blonde & Special Strat: https://www.lollarguitars.com
🔧 Emerson Custom Treble Bleed: https://emersoncustom.com
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Nash S63 | Lollar Vintage Blonde (Neck & Middle) + Special Bridge | Emerson Treble Bleed | KingTone Switch
🎛️ J. Rockett Audio Designs El Hombre | Texas Blues Overdrive
🔊 Benson Amps Vincent 2x12"
Catalinbread Tribute | Parametric EQ Overdrive
What is a parametric EQ overdrive and why should you care? The Catalinbread Tribute answers both questions simultaneously. Welcome back to Edge of Breakup.
In this episode the Catalinbread Tribute Parametric Overdrive takes center stage — running into my Frank Brothers Arcade with Lollar Pickups '50s Wind P90s, into my Benson Amps Vincent 2x12" cab.
Most overdrives have a fixed EQ voice baked in by the designer. The Tribute gives that decision to the player instead. Four knobs: Vol (output), Drive (gain), Freq, and Tone — the last two working in tandem to form a supercharged one-band parametric EQ based on Catalinbread founder Nicholas Harris's original VariOboost circuit.
Here's how it works: The Freq knob selects any frequency between 70Hz and 1.4kHz — the entire useful guitar frequency range, from deep lows through upper midrange. The Tone knob then boosts or cuts that exact frequency by up to ±12dB. Tone clicks to a center detent at noon, which is flat — nothing boosted or cut regardless of Freq position. Want thick, spongy low mids? Set Freq to 200-300Hz and boost with Tone. Want that exact presence frequency where your guitar suddenly cuts through a band mix? Find it with Freq, boost with Tone. Want to dial out the nasal honk of your neck P90? Find it and cut it. Same pedal, infinite voices.
The Drive knob controls two parameters simultaneously via a dual-gang pot: clean blend and overdrive gain together. At minimum Drive, you get a pristinely buffered, clean signal — a cocked-wah filter for your clean tone. At maximum, full gain with no dry signal. Anywhere in between is a carefully calibrated clean-drive blend. High headroom throughout.
Premier Guitar called it "powerful but simple" and noted it can replicate Klon-style, TS-style, and SD-1-style midrange voicings with ease — not because it's copying those circuits, but because the parametric EQ unlocks the same frequency emphases that distinguish them.
🎛️ Catalinbread Tribute: https://catalinbread.com/products/tribute
🎸 Frank Brothers Arcade + Lollar '50s Wind P90s
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Frank Brothers Arcade | Lollar '50s Wind P90 Pickups
🎛️ Catalinbread Tribute | Parametric EQ Overdrive | VariOboost | ±12dB | 70Hz-1.4kHz
🔊 Benson Amps Vincent 2x12"
Walrus Audio Slotva
The best ambient reverb I've ever experienced — in a full band mix. That's the test that matters. Welcome back to Edge of Breakup.
This is the Walrus Audio Slötvå's second appearance on the channel — the solo demo is here if you missed it: https://youtu.be/uNhDonLO5Mo
In this episode I'm pairing the Slötvå with a new guitar — the Prisma Guitars Dillinger, Prisma's first baritone model. Hard rock maple skateboard top over a semi-hollow alder body, with a Mastery Trem and Bridge. Into the Benson Amps Vincent clean and dirt channels.
The question this video answers is whether ambient reverb survives a band context. The common experience is that reverb, particularly deep modulated reverb, disappears into the mix when drums and bass arrive — pushed into the background, fighting for space it can't win. The Slötvå behaves differently. The three-dimensional, constantly shifting character of all three modes — Dark, Rise, and Dream — cuts through a dense mix without sitting on top of it. The reverb becomes part of the ensemble texture rather than a wash behind the guitar.
Dark mode: -1 octave signal feeding the reverb trail, creating deep, wide atmospheric weight beneath the guitar. Rise mode: auto-swell reverb that blooms in from below after each note — in a band mix, the swell becomes a compositional element that fills space between notes rather than competing with other instruments. Dream mode with its latching Sustain function: press once to hold the current reverb indefinitely, play over it, press again to release. In a full band context this is a keyboard pad substitute that responds to what's already happening in the room.
The Prisma Guitars Dillinger is everything you'd expect from Nick Pourfard's approach — reclaimed hard rock maple skateboard laminate producing a visually and sonically distinct instrument, with the Mastery Bridge and Trem for precise intonation and feel.
🎛️ Walrus Audio Slötvå: https://www.walrusaudio.com/products/slotva-multi-texture-reverb
🎸 Prisma Guitars: https://www.prismaguitars.com/collections
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Prisma Guitars Dillinger Baritone | Hard Rock Maple Skateboard Top | Mastery Bridge & Trem
🎛️ Walrus Audio Slötvå | Dark / Rise / Dream
🔊 Benson Amps Vincent
Recording: Universal Audio Apollo x4 | Royer R121 & R10 + SM57 on cab | Ableton Live 11
Spaceman Effects Explorer Analog Phaser
Spaceman Effects brought their classic Explorer phaser back in a smaller enclosure and somehow gave it more features, not fewer. Welcome back to Edge of Breakup.
In this episode the Spaceman Effects Explorer 6-Stage Analog Phaser takes center stage — running straight into the front of my Benson Amps Vincent 2x12" cab with my Prisma Guitars Sunset loaded with Lollar Gold Foil pickups, across clean, pushed, and dirty tones.
Named after Explorer 1 — the first satellite the United States put into orbit in 1958, and the first circuit Spaceman ever launched — the Explorer is an optical, photocell-based 6-stage analog phaser. Hand-wired and built in Portland, Oregon, in a compact cast-aluminum enclosure with engraved vinyl faceplate, true-bypass relay switching, and soft-touch footswitch. 9-24V capable for high headroom applications.
Six knobs, each with a specific purpose. VOL sets output level. MIX blends dry signal — at 100% wet the MIX control shifts into pitch modulation mode. RES adds feedback for over-the-top, resonant phase tones. RANGE controls the low frequency extension of the phasing — at low settings only high frequencies are phased (vibrato and rotary speaker territory); cranked, the phaser extends deep into low frequencies for slow, cavernous sweeps. RATE spans from glacially slow to extremely fast. SHAPE selects five LFO waveforms: Sine, Ramp Down, Ramp Up, Triangle, and Square — plus a sixth Manual position that disconnects the LFO entirely and freezes the phase sweep, turning the RATE knob into a manual frequency control.
The CV/EXP input is the performance secret: in LFO modes it controls speed in real time; in Manual mode it sweeps the phaser directly, essentially turning the Explorer into a wah-style phase sweeper when combined with the Resonance control.
This is the balance Spaceman consistently gets right — comprehensive enough for deep exploration, coherent enough to dial in quickly. Exceptional work.
🎛️ Spaceman Effects Explorer: https://spacemaneffects.com/products/explorer
🎸 Prisma Guitars Sunset: https://www.prismaguitars.com/collections
🎸 Lollar Gold Foil Pickups: https://www.lollarguitars.com/gold-foil
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Prisma Guitars Sunset | Lollar Gold Foil Pickups
🎛️ Spaceman Effects Explorer | 6-Stage Optical Phaser | 5 Wave Shapes | CV/EXP
🔊 Benson Amps Vincent 2x12"
Boss RE-2 Space Echo
Same pedal. Different conversation. The Boss RE-2 Space Echo with the built-in preamp emulation OFF — and it sounds more different than you might expect. Welcome back to Edge of Breakup.
Watch the preamp ON companion demo here: https://youtu.be/DYWpMujA_U8
In this episode the Boss RE-2 Space Echo runs in the effects loop of my Benson Amps Vincent 2x12", with my Prisma Guitars Sunset loaded with Lollar Gold Foil pickups and Mastery Bridge and Trem. Boss Waza Tube Amp Expander for attenuation.
The preamp is the character question at the center of both demos. With it ON, the RE-2 adds the warm, saturated coloration of the original RE-201's preamp circuit to your dry signal — fat, compressed, and unmistakably vintage. With it OFF, the dry signal runs completely unprocessed and analog, while the wet signal still carries the full RE-201 tape echo character. The result is a cleaner, more transparent version of the same effect — brighter, more open, with less compression on the pick attack. The Space Echo's modeled tape echo sound remains identical either way; what changes is the relationship between the dry signal and the effected signal.
For players who want their core amp tone completely untouched with the Space Echo layered on top rather than blended with the preamp coloration — this is that version.
The RE-2 packs three dual concentric knobs covering six parameters: Echo Level and Reverb Level, Intensity and Tone, Repeat Rate and Wow & Flutter. Eleven echo modes — the first four are echo only, modes 5-11 add the classic RE-201 spring reverb. Tap tempo via the footswitch hold, stereo I/O, carryover switch on the rear panel.
Today we cover all 10 echo modes and explore self-oscillation on the dirt channel — watch for the runaway at 24:40.
🎛️ Boss RE-2 Space Echo: https://www.boss.info/global/products/re-2/
🎸 Prisma Guitars Sunset: https://www.prismaguitars.com/collections
🎸 Lollar Gold Foil Pickups: https://www.lollarguitars.com/gold-foil
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Prisma Guitars Sunset | Lollar Gold Foil Pickups | Mastery Bridge & Trem
🎛️ Boss RE-2 Space Echo | 11 Echo Modes | Preamp OFF
🔊 Benson Amps Vincent 2x12" (Effects Loop)
Recording: Universal Audio Apollo x4 | Royer R121 & SM57 on grill | Royer R10 on room | Ableton Live 11
Thorpy FX Scarlet Tunic
Three legendary British amp voices in one pedal — and it started with a request from the guitarist in Syd Barrett's old band. Welcome back to Edge of Breakup.
In this episode the ThorpyFX Scarlet Tunic takes center stage, running into my Benson Amps Monarch with NOS Tung Sol tubes, through the Boss Waza Tube Amp Expander with the Benson Amps Tall Bird tube reverb in the effects loop. Guitar is the Gibson SG with Lambertones Crema Humbuckers — their debut demo on this channel.
The Scarlet Tunic's origin story: Lee Harris, guitarist in Nick Mason's Saucerful of Secrets, approached ThorpyFX founder Adrian Thorpe about a specific request — create a pedal that could replicate the Selmer TruVoice Treble 'N' Bass 50, the amp Syd Barrett used during Pink Floyd's early years, authentically enough to take on tour. Adrian built the Selmer tones and then, as always, went further. The result covers three distinct British amp characters in a single analog platform.
Under the hood: a high-quality transformer that makes the pedal react to your playing and compress and distort the way a full-size amp does — not a simulated response, a real one. An internal voltage pump increases headroom. The components are ThorpyFX's standard — immaculate.
Five knobs: Master (output), Gain (drive, from lightly crispy to full amp saturation), Treble, Bass, and Presence. The Presence knob is the character engine: full counter-clockwise puts you in Hi-Watt DR103 territory — big, authoritative, mid-forward British rock; noon gives you the Selmer TruVoice Treble 'N' Bass 50 — the early Pink Floyd psych character; full clockwise is Vox AC30 — chiming, jangly, glassy top end. Three toggle switches complete the control set: Deep adjusts the bass character as a master low-end control; Bright adjusts treble presence as a master high-end control; Sens switches between three gain stages replicating the behavior of the high and low input jacks found on the original vintage amps.
The Lambertones Crema Humbuckers making their channel debut here are genuinely extraordinary — extra sparkle and clarity while still doing the full humbucker thing, neck to bridge.
🎛️ ThorpyFX Scarlet Tunic: https://thorpyfx.com/products/the-scarlet-tunic
🔊 Benson Amps Monarch: https://www.bensonamps.com/amps/monarch
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🎸 Gibson SG | Lambertones Crema Humbuckers (Debut Demo)
🎛️ ThorpyFX Scarlet Tunic | Analog Amp Emulator | Selmer / Hi-Watt / AC30
🔊 Benson Amps Monarch (NOS Tung Sol) | Boss Waza TAE | Benson Tall Bird
Chase Bliss Habit
The deepest delay you'll ever play. That takes a session or two to say with confidence. Welcome back to Edge of Breakup.
In this episode the Chase Bliss Habit takes center stage in a deep extended session — not a features walkthrough, but a composition built in real time by feeding the pedal, listening to what it gives back, and adjusting. This is how Habit is meant to be played.
At its core, Habit is a delay pedal. Level, Repeats, and Size controls, delay time from 50ms to 60 seconds, tap tempo, analog dry-through. All familiar. But Habit is also always recording — maintaining a rolling three-minute buffer of everything that passes through it. At any moment, you can reach back into that buffer and pull moments from the past back into your present, alongside or instead of what you're currently playing.
Three controls shape that interaction. Scan browses the memory — in Auto mode the pedal wanders through its history on its own, surfacing fragments at a frequency you control; in Manual mode the Scan knob becomes a radio dial sweeping through the last three minutes of your playing. Spread adds a second simultaneous echo, creating multi-tap textures and the disorienting sensation of two moments from different times playing in parallel. Modify shapes the echo itself — through two banks of three modifiers each.
Bank A: Modifier A1 (Stepped Speed — pitch-based delay with fifths and octaves), A2 (Stability — detuned tape delay character), A3 (Trimmer — slices audio off the start or end of a note for stutter and edit effects). Bank B: B1 (Smooth Speed — gradual pitch change), B2 (Filter — multimode filter applied to the echo), B3 (Dropper — dissolving echoes that shrink away). Two banks of 8 DIP switches on the top panel modify how Habit scans, collects, and processes its memory — sixteen more variables to explore.
This is Habit's description of itself: "Never-before-heard delays, bizarre loops and transitions, and even entire songs captured right inside the pedal." That's exactly what this session explores.
It took two full sessions before I felt like I was riding Habit rather than being bucked off. The third session is where this video was made.
🎛️ Chase Bliss Habit: https://www.chasebliss.com/habit
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🎛️ Chase Bliss Habit | Experimental Delay | Freeform Sampler | Echo Collector
Note: This video is a rare exception to my standard recording setup — audio is captured direct rather than mic'd cab. All other Edge of Breakup videos feature 4 mics on a real cab with no IR or virtual amp sounds.
The Best Guitar Tone I've Ever Had - R2R Electric - R2Rgemaster
The best guitar tone I've ever had. That's a statement I don't make lightly. Welcome back to Edge of Breakup.
In this episode R2R Electric R2RGeMaster Treble Booster #1000 takes center stage — into my Benson Amps Monarch with NOS Tung Sol tubes, through the Boss Waza Tube Amp Expander for attenuation and the Benson Amps Tall Bird in the effects loop for tube reverb, into the Benson Amps Vincent 2x12" cabinet.
R2R Electric is operated out of Los Angeles by Chris Vincent, aka @djlavalamp on Instagram. Chris is a specialist in NOS components reclaimed from 1950s and 1960s electronics — the kind of capacitors, transistors, and resistors that are no longer manufactured and whose sonic character shapes each pedal uniquely. This particular unit is #1000 of the R2RGeMaster — a significant milestone. My friend Mark (@filmotone on Instagram) bought unit #1000, and in one of the great acts of generosity in boutique pedal culture, asked Chris to ship it to me first.
The R2RGeMaster is a Dallas Rangemaster circuit built around Philips/Mullard AC107 black glass germanium transistors, Allen-Bradley carbon comp resistors, Sprague Bumblebee and Black Beauty input capacitors, Switchcraft jacks, and NOS Dakaware control knobs. The heart of the demo is the 6-position switch — each position selects a different NOS vintage capacitor as the input cap, fundamentally changing the voicing and frequency response of the boost:
Position 1: 1964 SRC Dallas Rangemaster — the classic tight treble character
Position 2: 1962 Hunts Modern Rangemaster — slightly broader
Position 3: 1964 Hunts Aged Rangemaster — warmer, more worn character
Position 4: 1964 Hunts Modified Rangemaster — a specific modification voicing
Position 5: 1966 Aerovox Mods Booster — moving toward mid-range emphasis
Position 6: 1962 Erie Full Range Boost — full frequency, not a treble booster
Six completely different pedals in one enclosure, defined by NOS capacitors that Chris sources one at a time. The result cleans up like a beautiful vintage fuzz, turns like a dime with your guitar volume knob, and has a bite and attack unlike anything I've played before — with a soft, gushy low-mid character when you dig in.
Join the R2R Electric email list — these sell out in seconds: https://www.r2relectric.com/how-to-order
Subscribe for more boutique tone explorations.
🎛️ R2R Electric R2RGeMaster #1000 | Philips/Mullard AC107 | 6-Position NOS Capacitor Switch
🔊 Benson Amps Monarch (NOS Tung Sol Tubes) | Boss Waza TAE | Benson Tall Bird | Benson Vincent 2x12"
Recording: Universal Audio Apollo x4 | Royer R121 & SM57 on cab | Royer R10 on back | Ableton Live 11
Other R2R Electric videos you might like:
https://www.edgeofbreakup.studio/latest-videos/the-best-nos-fuzz-face-r2r-electric-geface-deluxe
https://www.edgeofbreakup.studio/latest-videos/r2r-electric-uniform-fuzz
https://www.edgeofbreakup.studio/latest-videos/electric-machine-fuzz-r2r-electric-zonk-machine
https://www.edgeofbreakup.studio/latest-videos/1959-fender-tweed-deluxe-5e3-vintage-amp-showcase
https://www.edgeofbreakup.studio/latest-videos/r2r-electric-pkiii-fuzz
https://www.edgeofbreakup.studio/latest-videos/r2r-electric-mki-pro-fuzz
https://www.edgeofbreakup.studio/latest-videos/r2r-electric-pre-amp-vintage-wah
Boss RE-2 Space Echo
Don't overlook the little brother. The Boss RE-2 Space Echo packs the complete sonic character of the Roland RE-201 into a compact pedal — and this demo is the argument for taking it as seriously as the RE-202. Welcome back to Edge of Breakup.
In this episode the Boss RE-2 Space Echo (with preamp ON) takes center stage — running in the effects loop of my Benson Amps Vincent, with my Prisma Guitars Sunset loaded with Lollar Gold Foil pickups and Mastery Bridge and Trem. Watch for the companion demo with preamp OFF.
The Roland RE-201 Space Echo was the definitive tape echo unit of the 1970s — three tape heads, a built-in spring reverb tank, and a warm, saturated preamp character that made it the secret weapon of studios worldwide. Boss engineers analyzed multiple vintage RE-201 units, including a pristine example from the Boss and Roland factory archive, modeling every element: the tape path, record/playback mechanism, motor variations, preamp coloration, spring reverb character, and the gradual pitch change that occurs when you adjust the Repeat Rate.
The RE-2 fits all of that into Boss's classic compact format. Three dual concentric knobs cover six parameters: Echo Level and Reverb Level, Intensity and Tone, Repeat Rate and Wow & Flutter. A rotary 11-position mode selector dials in different virtual tape head configurations — modes 1-4 are echo only, modes 5-11 add the classic RE-201 spring reverb. The Wow & Flutter control is the key to the pedal's authenticity — it introduces the motor speed fluctuations and tape friction variations that give the original its organic, never-quite-mechanical character. Hold the footswitch for tap tempo or trigger the momentary Twist effect.
Preamp on or off is a meaningful choice: with the preamp engaged you get the warm, fat, compressed RE-201 character on the dry signal. With it off the dry signal is unprocessed analog. Today is preamp ON — the full RE-201 experience.
Stereo I/O, carryover/trails switch on the rear panel, battery or PSU powered.
🎛️ Boss RE-2 Space Echo: https://www.boss.info/global/products/re-2/
🎸 Prisma Guitars Sunset: https://www.prismaguitars.com/collections
🎸 Lollar Gold Foil Pickups: https://www.lollarguitars.com/gold-foil
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Prisma Guitars Sunset | Lollar Gold Foil Pickups | Mastery Bridge & Trem
🎛️ Boss RE-2 Space Echo | 11 Echo Modes | Preamp ON
🔊 Benson Amps Vincent (Effects Loop)
Recording: Universal Audio Apollo x4 | Royer R121 & SM57 on cab | Royer R10 on room
Cunningham Amps ZONK MKI Fuzz — Lost in Crystal Canyons
Two of the rarest circuits of the 1965 British Fuzz Boom — a Tone Bender MKI and a Zonk Machine — matched NOS germanium throughout, in single-digit production runs. Welcome back to Edge of Breakup.
In this episode the Lost in Crystal Canyons x Cunningham Amps ZONK | MKI takes center stage — running into my Frank Brothers Arcade goldtop with Lollar '50s Wind P90 pickups, Bigsby and Emerson Custom Treble Bleed, into my Benson Amps Vincent with Boss Waza Tube Amp Expander for reverb.
The story behind both circuits: In 1965, Gary Hurst of Sola Sound took a Gibson Maestro Fuzz-Tone to a three-transistor germanium design with more sustain and bite, launching the Tone Bender MKI. It made instant converts of The Beatles, Jeff Beck, Pete Townshend, and Mick Ronson. Almost simultaneously, John Hornby Skewes — operating out of Leeds — produced the Zonk Machine, a three-transistor germanium circuit closely related to the MKI Tone Bender. Two circuits from the same cultural moment, built on the same Germanic transistors, with subtly different characters. Both are among the rarest and most sought-after vintage fuzzes in existence.
Tim Cunningham of Cunningham Amps — building by hand in Auckland, New Zealand — matched the NOS germanium parts for this collaboration specifically. Robert Hart of Lost in Crystal Canyons brought the aesthetic: minimalist, classic rock period design, solid steel enclosure, NOS knobs, high quality switches, retro colorway. Each release drops in single-digit quantities.
The ZONK | MKI has exactly what it needs and nothing it doesn't. Two knobs: Fuzz (left, gain) and Level (right, overall output). Two switches: one kills the battery circuit so you can leave the pedal wired to your board safely, the other toggles between the Zonk Machine (left position) and Tone Bender MKI (right position). The two circuits clean up extraordinarily from the guitar volume, respond differently to pickup selection, and have distinctly different characters at every gain setting — you'll hear both in detail in this video.
Robert Hart: https://www.instagram.com/lostincrystalcanyons/
Tim Cunningham: https://www.instagram.com/cunninghamamps/
🎸 Frank Brothers Arcade | Lollar '50s Wind P90s | Bigsby | Emerson Custom Treble Bleed
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Frank Brothers Arcade Goldtop | Lollar '50s Wind P90 Pickups | Bigsby | Emerson Custom Treble Bleed
🎛️ Lost in Crystal Canyons x Cunningham Amps ZONK | MKI | NOS Germanium | Zonk Machine + Tone Bender MKI
🔊 Benson Amps Vincent
Recording: Royer R121 & SM57 on cab | Royer R10 on room | Universal Audio Apollo x4
Chase Bliss Gravitas Tremolo
The Chase Bliss Gravitas Analog Tremolo is end of life — which makes now the time to track one down. This one is absolutely worth hunting for on the used market. Welcome back to Edge of Breakup.
In this episode the Chase Bliss Gravitas takes center stage, running into my Benson Amps Vincent on both clean and dirt channels. Stratocaster with Lollar Pickups throughout.
The Gravitas is built around a fundamental design philosophy that Chase Bliss has refined across their entire lineup: the guitar signal stays 100% analog from input to output, while every knob and switch is connected to a digital brain that offers control depth impossible in a purely analog circuit. The first thing your signal hits is a discrete Class A clean boost — transparent and gorgeous. From there: Analog Devices AD823 op-amps for buffering and tone shaping, followed by the tremolo circuit itself.
Three core tremolo voices at its heart. Standard vintage opto-style amplitude tremolo — the classic '50s and '60s tube amp volume modulation. Harmonic tremolo, inspired by the 1961 Brownface Fender Twin — where the signal is split into high and low frequency bands, each modulated out of phase, creating a richer and more complex tremolo character than simple amplitude modulation can produce. And a combination of both simultaneously, running at whatever rates and depths you choose independently.
Then the Ramp knob and the dipswitch array on the top face unlock everything else. The Ramp control acts as a transparent clean boost when no dipswitches are engaged. Assign any of the five parameters — Tone, Rate, Depth, Sway, Volume — to the Ramp via dipswitch, and that parameter oscillates continuously at the rate set by the Ramp knob, independent of the main Rate control. Oscillating the Tone knob with Depth at zero kills the amplitude tremolo and leaves only a harmonic tremolo effect — all from the same pedal, with no separate circuit needed. Combine both simultaneously at different rates and you're deep into territory no other analog tremolo has explored.
Controls: Drive/Ramp, Volume, Tone, Rate, Depth, Sway. Tap tempo with subdivisions. Preset storage. MIDI, CV, and expression pedal connectivity.
This pedal is discontinued. Find one while you can.
🔍 Search for the Chase Bliss Gravitas on Reverb: https://reverb.com/marketplace?query=chase+bliss+gravitas
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
🎸 Lollar Pickups: https://www.lollarguitars.com
Subscribe for more boutique tone explorations.
🎸 Stratocaster | Lollar Pickups
🎛️ Chase Bliss Audio Gravitas | Analog Tremolo | Harmonic Tremolo | Ramp | Dipswitches
🔊 Benson Amps Vincent
Horrothia Effects Berkeley Uni-Vibe
A vintage Uni-Vibe signal path, four hand-matched Vactrols, three internal trim pots, an expression input, and a boost circuit — all in a pedalboard-friendly enclosure with design worth actually looking at. Welcome back to Edge of Breakup.
In this episode the Horrothia Effects Berkeley Uni-Vibe takes center stage — stacked with the Mythos Pedals High Road Fuzz (Joey Landreth Signature), into my Benson Amps Vincent on both clean and dirt channels. Stratocaster with Lollar Pickups throughout.
The original Shin-Ei Uni-Vibe was designed in 1968 by Fumio Mieda — a four-stage phaser built around a single incandescent bulb surrounded by four light-dependent resistors arranged in a cloverleaf configuration. As the bulb pulsed at the rate set by the LFO, it modulated all four resistors simultaneously, creating an asymmetric, reverse-sawtooth waveform that produced the thick, swirling throb associated with Hendrix at Woodstock, Gilmour on Breathe, and Robin Trower on Bridge of Sighs. That circuit, with its quirks and non-linearities, is the target.
Tom Oakes of Horrothia Effects built the Berkeley to be as close to that signal path as possible, while solving the original's reliability problems. In his own words: "Carbon film resistors, Mylar caps, transistors... Some small key changes have been made in line with mods done in the late '60s to open up the low-end and add more liquid movement." Where the original used a bulb, the Berkeley uses four hand-chosen Vactrols — photocells matched one by one in a custom test fixture to sit within a defined sweet spot. No guessing.
Controls on the face: Intensity, Rate, a Chorus/Vibrato toggle, a Level knob for the integrated boost circuit, and a 1/8" TRS expression input for real-time Rate control. Inside the enclosure, three trim pots allow deep customization: phase notch depth, impedance, and voicing from vintage to modern character. We go through all three in the video.
The Mythos Pedals High Road Fuzz is Joey Landreth's signature — a high-biased silicon fuzz designed for focus, immediacy, and the kind of attack that interacts beautifully with a vibe circuit in either order in the chain.
Speaker and instrument cables by Caulfield Cables — use code "EOB" for a discount: https://www.instagram.com/caulfieldcables/
🎛️ Horrothia Effects Berkeley Uni-Vibe: https://www.horrothia.com/berkeley
🎛️ Mythos Pedals High Road Fuzz: https://mythospedals.com
🎸 Lollar Pickups: https://www.lollarguitars.com
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Stratocaster | Lollar Pickups
🎛️ Horrothia Effects Berkeley | Uni-Vibe | 4 Matched Vactrols | Boost Circuit | Expression
🎛️ Mythos Pedals High Road Fuzz | Joey Landreth Signature | Silicon
🔊 Benson Amps Vincent
In the words of the creator, Tom Oakes: "Carbon film resistors, Mylar caps, transistors... Some small key changes have been made in line with mods that were done in the late 60’s to open up the low-end and add more liquid movement. There are 4 photocells, but no bulb. Hand chosen Vactrols are matched one by one in a custom test fixture to make sure that every component works within a well defined ‘sweet spot’ range. No guessing here."
Jam Pedals Delay Llama Xtreme
JAM Pedals has made the perfect analog delay. That's a strong claim. This video is the argument for it. Welcome back to Edge of Breakup.
In this episode the JAM Pedals Delay Llama Xtreme takes center stage — running in the effects loop of my Benson Amps Vincent, paired with the JAM Pedals Rattler for distortion, with my Prisma Guitars Sunset loaded with Lollar Gold Foil pickups.
The Delay Llama Xtreme is JAM's evolution of their beloved Delay Llama MK.3, adding a suite of features that earn the name. At its core: a fully analog bucket-brigade delay built around three replica Panasonic MN3205 BBD chips — up to 800ms of warm, characterful, tape-inspired analog repeats. Tap tempo with eighth, quarter, and dotted eighth note subdivisions. Four saveable user presets. Kill-dry switch. Trails/buffered bypass OR true bypass, selectable. Delay time expression pedal and CV input. Remote tap tempo and remote preset selection inputs. Hold the tap footswitch and the pedal self-oscillates for as long as you hold it. This is the most feature-complete analog delay pedal available at any price.
Then there are the four Xtreme modes — accessible via a prolonged press on the middle footswitch — which is where the Delay Llama stops being a delay pedal and becomes something genuinely new:
Vibrato — sine-wave LFO modulation applied to the delay trail, with dedicated Depth and Speed controls. Rich, disorienting, musical.
Tape-Age — emulates the slight random pitch variations and warble of a physical worn-down tape in a vintage tape echo machine. Frequency of deviation is controllable. This is what tape delay actually sounds like when it's lived a full life.
Random — randomly changes the millisecond value of the repeats over fixed time increments, producing abrupt pitch and rhythmic changes that sound simultaneously chaotic and musical.
Pitch-Shift — five distinct pitch-shifted intervals and five playback patterns, including a 5-mode sequencer. An entirely different instrument.
The JAM Pedals Rattler — NOS LM308N chip, asymmetrical clipping, carbon comp resistors — stacks beautifully with the Llama Xtreme in the effects loop. The combination of analog delay and a RAT-style circuit into a pushed Benson clean channel is exactly what it sounds like.
🎛️ JAM Pedals Delay Llama Xtreme: https://jampedals.com/shop/delay-llama-xtreme/
🎛️ JAM Pedals Rattler: https://jampedals.com/shop/rattler/
🎸 Prisma Guitars Sunset: https://www.prismaguitars.com/collections
🎸 Lollar Gold Foil Pickups: https://www.lollarguitars.com/gold-foil
🔊 Benson Amps Vincent: https://www.bensonamps.com/amps/vincent
Subscribe for more boutique tone explorations.
🎸 Prisma Guitars Sunset | Lollar Gold Foil Pickups
🎛️ JAM Pedals Delay Llama Xtreme | 800ms BBD Analog Delay | Tap Tempo | 4 Xtreme Modes
🎛️ JAM Pedals Rattler | NOS LM308N
🔊 Benson Amps Vincent (Effects Loop)