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From Vintage Guitar:

Autry, born in 1907 in Tioga, Texas, came to fame as Oklahoma’s Singing Cowboy on KVOO radio in Tulsa in the late 1920s. That and a couple sides for Okeh landed him the “Gene Autry Program” and a spot on the “National Barn Dance” for WLS, the Sears megastation in Chicago. His star was on the rise. Following the pattern set with the Bradley Kincaid Houn’ Dog guitar (VG, July ’04) in 1932, Sears commissioned its subsidiary, Harmony, to build a guitar for Autry. That model was the Supertone Roundup, a standard-sized guitar showing cowboys rounding up cattle, and Autry’s signature on the belly. In 1934, Autry was recruited by Nat Levine of Hollywood’s Mascot Pictures to make his first film, In Old Santa Fe, thrusting him to the front ranks of singing cowboys in the movies. Overnight, a new movie genre was created, mixing good guy/bad guy Western action with a love interest and a hero who’d break into a song with a guitar at the slightest provocation. The following year, Sears briefly marketed an Old Santa Fe archtop. In 1935, Harmony increased the size of the Roundup to a 14″ concert and changed the neck to 14 frets clear of the body, like the 1938 version shown here. This had a spruce top and reddish mahogany-finished birch body. Like all Harmony models, the timbers were solid and the inlays were real pearl dots. This guitar, like most small-bodied, ladder-braced Harmonys of this era, has a nice response and a bright tone that’s pleasing in intimate settings. And by this time, Harmony had established the practice of stamping the date of manufacture on the inside, so these are easy to date. This second version of Autry’s Roundup guitar lasted until 1939, when it was replaced by a 15″ grand-concert-sized model in spruce and maple without the decals, but with Autry’s signature on the fingerboard. Autry continued to make horse operas through 1953, adding television to his repertoire beginning in 1950. In later years, of course, he concerned himself with a form of mass entertainment quite different from cowboys and music, as owner of the California Angels baseball team. Nevertheless, guitars such as this Supertone Roundup preserve the voice of the Depression and the nostalgic sentiment of being “back in the saddle again, out where a friend is a friend.”

From Vintage Guitar:

Autry, born in 1907 in Tioga, Texas, came to fame as Oklahoma’s Singing Cowboy on KVOO radio in Tulsa in the late 1920s. That and a couple sides for Okeh landed him the “Gene Autry Program” and a spot on the “National Barn Dance” for WLS, the Sears megastation in Chicago. His star was on the rise. Following the pattern set with the Bradley Kincaid Houn’ Dog guitar (VG, July ’04) in 1932, Sears commissioned its subsidiary, Harmony, to build a guitar for Autry. That model was the Supertone Roundup, a standard-sized guitar showing cowboys rounding up cattle, and Autry’s signature on the belly. In 1934, Autry was recruited by Nat Levine of Hollywood’s Mascot Pictures to make his first film, In Old Santa Fe, thrusting him to the front ranks of singing cowboys in the movies. Overnight, a new movie genre was created, mixing good guy/bad guy Western action with a love interest and a hero who’d break into a song with a guitar at the slightest provocation. The following year, Sears briefly marketed an Old Santa Fe archtop. In 1935, Harmony increased the size of the Roundup to a 14″ concert and changed the neck to 14 frets clear of the body, like the 1938 version shown here. This had a spruce top and reddish mahogany-finished birch body. Like all Harmony models, the timbers were solid and the inlays were real pearl dots. This guitar, like most small-bodied, ladder-braced Harmonys of this era, has a nice response and a bright tone that’s pleasing in intimate settings. And by this time, Harmony had established the practice of stamping the date of manufacture on the inside, so these are easy to date. This second version of Autry’s Roundup guitar lasted until 1939, when it was replaced by a 15″ grand-concert-sized model in spruce and maple without the decals, but with Autry’s signature on the fingerboard. Autry continued to make horse operas through 1953, adding television to his repertoire beginning in 1950. In later years, of course, he concerned himself with a form of mass entertainment quite different from cowboys and music, as owner of the California Angels baseball team. Nevertheless, guitars such as this Supertone Roundup preserve the voice of the Depression and the nostalgic sentiment of being “back in the saddle again, out where a friend is a friend.

It’s finally here – our brand-new 2022 Fralin’Tron! Experience exceptional clarity and articulation in a Filter’Tron format with Lindy’s unique Fralin’Tron design. Featuring a focused single-coil vibe with a rich, warm midrange and crisp attack, you’ll wonder where this pickup has been all your life.

Meet the new Orange Distortion pedal, same as the old Orange Distortion pedal — at least that’s how it seems on the outside. After all, apart from the modern tweaks of an added LED and a 9V DC input, this looks like a straight-up reboot of the 1970s relic, right down to its simple type stencilled onto the classic chunky aluminium shell to ape the original units.

Under the hood, though, it’s a different story: the circuitry of the new Orange Distortion has been rebuilt from the ground up, ditching the original’s back-to-back diode design and replacing it with an amp circuit including a tone stack, where bass and mids are preset but treble is user-adjustable via a little trimmer inside the casing.

New design doesn’t mean new sound though — this one comes with all the bite and growl and warmth and howl that you need for that classic 70s amp-like distortion, from vintage crunch to full saturation. With only two dials, for level and depth, but huge versatility, the Orange Distortion can set up your sound for everything from a clean boost to warm and fat gravelly textures to red-hot trebly screamers and maximum saturation. There’s a sweet spot for Jimmy Page-style guitar heroics, and another for Nuggets-style garage rock squall: in fact, every shade of grit and dirt is in there, as long as it’s vintage.

Add in a hardwired switch that’s separate from the PCB and therefore super-easy to service, and you’ve got a vintage pedal fit for the modern age. It’s that level of attention to detail, combined with dedication to an era of crunching power chords that makes the pedal a perfect homage to one of rock’s golden ages, ready to be heard again with fresh ears. It might be a new design, but with the Orange Distortion, the song remains the same.

When you have a specific job that needs doing, the solution is obvious: you hire a specialist. And when you want to add a classic phaser effect to your sound, it’s the same deal: you want a pedal that does exactly that, and only that. No muss, no fuss, no superfluous bells and whistles — and, crucially, zero intrusions on that sweet psychedelic swirl.

And that’s where the Orange Phaser excels, with a single adjustable dial to take your tone from slow, woozy sweeps to fast, choppy stabs, via kaleidoscopic whirling and insistent krautrocking pulses, leaving everything else to precision engineered four-stage circuitry rebirthed from the original hand-drawn schematics. Drawing inspiration from Orange’s classic “Phazer” from the early 1970s (its name respelled in English that’s as proudly British as the pedal’s construction), but given modern standards like an LED and a 9V DC input, and circuitry tweaks inside the box to reduce the the noise floor, the Orange Phaser adds a nuanced, warming spin to your sound with the maximum simplicity. Used in conjunction with a bass guitar, too, the Phaser offers subtle modulation with an added liveliness.

With the same form factor and minimalist artwork as the originals, all tank-strength aluminium chassis, block colour, and art nouveau typography, a mere glance at the thing will transport you back 50 years. Then, when you stomp on the footswitch, the time-travel will be complete, with as clean an interaction with a pedal as you’ll ever encounter. After all, this is the Orange Phaser: it literally has one job.

The Fender® American Vintage II series presents a remarkably accurate take on the revolutionary designs that altered the course of musical history. Built with period-accurate bodies, necks and hardware, premium finishes and meticulously voiced, year-specific pickups, each instrument captures the essence of authentic Fender craftsmanship and tone.

By 1973, now-classic CBS design cues had become standard spec and were widely used by rock, funk, fusion and prog players around the world. Weekly late night music television shows like Don Kirshner’s Rock Concert, In concert and Midnight Special provided more exposure than ever for Fender instruments, further cementing the Stratocaster’s dominance as a pop culture phenomenon. The American Vintage II 1973 Stratocaster® exudes the spirit of the era and is outfitted with a trio of Pure Vintage '73 staggered pole pickups, a large headstock with dual string trees, a convenient “Bullet” style truss rod nut and a three-bolt neck plate with Micro-Tilt™ mechanism. The “C”-shape maple neck plays like a dream with a 7.25” radius rosewood or maple fingerboard and vintage tall frets. The guitar is offered in three classic colors over ash: Aged Natural, Lake Placid Blue and Mocha, the latter being the first custom color ever to feature a black pickguard on a Strat®. Additional features include vintage-style “F” stamped tuners and a synchronized tremolo with bent steel saddles and cold rolled steel block.

The instruments in the American Vintage II series are direct descendants of the original Fenders: designed for players with a fine appreciation for vintage Fender tone and feel and built with unmatched quality, down to the last screw. These are Fender electrics in their purest form: Fender American Vintage II, the stuff of legends.

In the twilight of the 1960s, SF Bay Area amp repairman to the Stars, Randall Smith, was inspired to start building his own amplifiers after coming to a deep appreciation for the ‘50s Tweed circuits. He loved their organic sounding voice, powerful controls and the way they smoothly transitioned from clean to clip and back again. Standing on the shoulders of a giant, Smith’s (and the World’s) first venture into boutique guitar amplification resulted in a new Boogie® amp design inspired by that wonderful, timeless sounding preamp. Five Decades later we return to pay homage. Now, drawing on these 50 years of experience, we bring forward an exciting new realm of tweed-based performance and authentic 6V6 character. A beautifully simplistic design that raises the bar in the world.

Classic rock sounds in a pedal, the V1 Sheriff is the stompbox that takes all the elements of the Sheriff range and squeezes it into a pedal. The V1 series is a collaboration between Victory and award winning pedal builder Adrian Thorpe MBE. Designed and built in Britain, the Sheriff is a true collaboration between two British companies. Add the Sheriff sound to your pedal board, with the gain low you get the vintage channel sounds, then push the gain up for 80’s hot rodded sounds.

A Victory classic in a pedal! Based on the V30 Jack designed in collaboration with Guthrie Govan, the V1 is stompbox that takes all the elements of the VC30 MKII Jack and squeezes it into a pedal. The V1 series is a collaboration between Victory and award winning pedal builder Adrian Thorpe MBE. Designed and built in Britain, the Jack is a true collaboration between two British companies. The V1 Jack can do low gain, barky sounds, all the way through to over the top gain. It's a perfect way to add the Victory sound to your pedal board.

Classic British Rock tone as soon as you engage the Copper, the V1 pedal is stompbox that takes all the elements of the VC35 Copper and squeezes it into a pedal. The V1 series is a collaboration between Victory and award winning pedal builder Adrian Thorpe MBE. Designed and built in Britain, the Copper is a true collaboration between two British companies. The V1 may be small but it has many different sounds packed into it, push the gain up and you are into 70’s Classic British Rock, then dial it back for 60’s British Blues Rock. The 3 band EQ can be used to thicken and cut the sound, it's the perfect addition to your pedalboard.

Designed to emulate the V40 Duchess, the V1 pedal is a collaboration between Victory and award winning pedal builder Adrian Thorpe MBE. The brief was simple to build the truest representation of the Duchess sound. The V1 Duchess is built to be versatile but simple to use, you can use the pedal to add a vintage American clean sound, a clean boost or a surprising amount of American style gain to your pedalboard.

PLETHORA X3 is your flexible collection of up to 127 mini boards within your pedalboard – just like the original PLETHORA X5. In comparison, the only hint of a compromise is 3 slots instead of 5, but you may well find that beneficial, as it takes up less precious real estate on your pedalboard! Rest assured that the sound quality and flexibility is every bit as hard rocking as PLETHORA X5.

The SLO Mini head is a 30-watt powerhouse with the same rich overdrive and crunch as the original amplifier. This ultra-compact head delivers searing harmonics, and the perfect balance of gain, sustain and tight touch response that the SLO has become famous for.