Walrus’ Colt Westbrook and Jason Stulce give us the lowdown on the future of the Mako range, why they don’t want to be like Tesla, and why they’ll never stop making pedals that “are simple and sound great”.
Back in the late 80s, My Bloody Valentine revolutionised many players’ ideas of what a guitar sounded like. It was a mix of borrowed gear, happy accidents and “sound as an infinite horizon”… and still sounds awesome.
Guitar.com’s Huw Price was a studio engineer for My Bloody Valentine during their early 90s pomp: with the band’s hugely influential back catalogue finally available on streaming platforms, he looks back at the unique experience working with the Sultans Of Shoegaze.
Kirby’s evangelical Christian upbringing meant she grew up without many of the pop touchstones the rest of us take for granted, but it also means the guitarist’s debut album comes from a place unburdened by its baggage.
A successful career in sound-system design and acoustical engineering might seem the long way round into guitar making. But it all kinda’ makes sense when high-end electric and flat-top acoustic instruments are the goal.
The JHS Pedals founder explains how Pedals: The Musical was a labour of love, why this is just the start for his guitar-related productions, and just how they turned actors into singing, dancing stompboxes…