Field Effects

Just in from Resonant Electronic Design, is their brand of pedals called "Field Effects".  With only 2 pedals in the range so far, The Graviton Boost, and Manifold Drive, im sure they will expand on this very soon.

The Graviton Boost is more than just a simple volume control. The classic discrete, class-A circuit topology is reminiscent of vintage studio pre-amplifiers, while providing a twist on a classic theme that makes you want to leave it "on" all the time.

This thing gets LOUD. Really loud. By employing state-of-the-art circuit board layout techniques and only the best possible components, the noise floor on the Graviton is nearly imperceptible, even at full tilt. We literally spent years tweaking the circuit topology and components to give your signal a subtle sweetness just by turning this pedal on.

Whether you're a "guitar-cord-amp" kind of player, or have a giant rig full of the world's best FX units, the Graviton will find a place into your tone. Use it to drive the front end of your amp for just a little bit more hair and a lead boost, or drive it with another booster or OD for sweet triode-like clipping, the Graviton will make a obvious improvement in your tone.

RRP - $230, DLX PRICE - $200

We approached the Manifold Drive a little differently. We didn't just copy an old proven design, instead we had specific goals in mind and designed a new overdrive circuit from the ground up to meet our expectations. We wanted a pedal that could capture the subtle nuance of high quality tube amp overdrive. What we ended up with is so much more. 

The Manifold Drive looks deceptively simple, yet contains a plethora of useful tones that you'll love. The "Drive" control ranges from an incredibly mild soft clipping useful for solo boosts into cranked amps, to an all-out fuzz-like tonal aggression. We designed a entirely new clipping circuit that is able to mimic the compression envelope of an old, tube-rectified, push-pull tube amp. The three settings of the EQ switch allow for very different guitars to be used with the Manifold without having to alter the tone settings on your amp drastically.

Just like in our Graviton Boost, the Manifold Drive uses a discrete Class A topology and is built with audiophile grade components. Try it out, and you'll never want to play without one again.

RRP - $285, DLX PRICE - $250

***Demo Videos from a good friend of Deluxe Guitars, Mr Brett Kingman.***

Check out his youtube channel for some insane guitar playing here.....

Nash LP!!!

We JUST landed this amazing relic'd Gibson LP from Bill Nash. Its a LP Standard, which has been stripped and completely become victim to the nash treatment. The neck is the 60's profile, and with the wear on the back, is one of the nicest feeling LP necks we have seen in a LONG time.

Unfortunately this one is already sold, but we hope to get more of these coming through soon.


Here is the description from Bill Nash:


"These are real Gibson guitars that I purchase with the intention of doing a complete make over. There are a few models that make good candidates for this, depending on the final color (plain, flame or gold top). The faded standards, the classic standards and classic plus standards are all possibilities as a staring piece as long as they are in NOS condition when they land.

First step is to completely disassemble and separate the parts that will be aged and re-used, from the parts that we reject and replace. The “keeper” parts are then aged.

The finish, which is sometimes rather thick, is stripped off down to the bare wood. At this point some get stains applied, if required to get the desired color. Then the guitar gets re-finished in 100% nitrocellulose lacquer, keeping it as thin as possible to enable superior resonance. We do a variety of takes on the lemon, cherry, faded, un-burst, plain and gold top looks.

After curing, the guitar gets the complete aging treatment and is then frets are re-worked and dressed to our specs, then we are ready for re-assembly.

The pickups are replaced with what many of you may balk at as there are so many opinions about Les Paul pickups and tone out there. As always, I simply build a guitar that I would use and leave it at that. So, in my arsenal of personal guitars, my favorite and most versatile LP setup is using a DiMarzio Bluesbucker in the Neck and a DiMarzio Air Norton in the Bridge.

We re-wire the guitar so the pickups breathe better as well as use the neck pickup’s tone control as a coil tap for the Bluesbucker, which gives you an amazing strat-like sound from that pickup. Between 1 and 8 on the tone knob it works as a regular tone control, between 9 and 10 it shuts off the second/dummy coil. This gives you a tap without adding switches of push pull pots.

The Air Norton give you bigger output and rich harmonics without going over the top into the tone spectrum of faceless, modern, high output sound that so many specialized humbuckers are susceptible to. These pickups have a lower string pull and a much higher sensitivity to your dynamics and playing style.

If you care for more info on the pickup selection, setup etc., read on……

My problem with stock Les Pauls is that the pickups never seem truly matched to each other or the position that they inhabit. The neck pickup will sound to fat and lack clarity and character. The bridge will often sound harsh or weak. The middle position (both pickups together) has an incredible potential for sparkle and quack, but no stock Les Paul, I have had, other than an actual ‘59 burst had this. I always looked for a paul that could actually use the neck pickup for rhythm, but if I set my amps for that, then the bridge pickup sounded harsh and weak. If setting the amp for a smooth, but well driven sound from the bridge, then your neck pickup is overly thick and un-clear. Does this sound familiar?

Also, as many of you may have figured out, the method Gibson uses for wiring the pots is not optimum. The tendency towards the guitar getting muddy or sounding choked when anywhere but “10“. This gets re-worked when we re-wire.

Gibson installs frets on the fretboard prior to it getting glued to the neck and body. Maybe they do it as it is easier to do it that way, but it can really lead to all sort of fret issues (buzzing, fret outs, high action, dead spots etc). What happens is the neck and body glue, moisture, and all of the underlying structure will shrink, expand and or settle. The fretboard (and frets) will now adjust itself to the changes and you and up with “lumpy gravy”. The most noticeable and common issue is the hump at about the 14th fret, right where the neck gets really thick before it hit’s the body. So what we do is now re-work the neck and frets and take care of this to give the player better action, playability, sustain, bending etc."

Cusack Tap-A-Delay

Very exciting news...we just landed the new Cusack Tap-A-Delay. Heres a rundown..

The Tap-A-Delay is a 750mS digital delay that mixes the original analog signal with the delayed signal.  It is gritty and a bit noisy and very analog sounding.  This isn’t your clean studio quality digital delay with perfect repeats.

Here is a rundown of the controls and features:

Level, Mix, Feedback and Delay knobs as you would expect.  The Delay time can be set with the knob or by pressing the Tap Speed switch twice.  When tapping the tempo, the Divide toggle selects 1/8, *1/8, and 1/4.

The Modulation Knob is an 8-position switch that selects several warm modulation themes as well as a few outer space themes.

The Mode switch decides how the brake function works.

Left: holding the brake will alternate between slowing down and speeding up.  When you release the switch, it stays right where it was.

Middle:  ”Snap Back”.  Holding the switch will either slow down or speed up (depending on how you set it up).  When you release the switch it snaps back to the original tempo.

Right: “Slide Back”.  Slide back is the same as Snap Back, except the tempo slides back to the original tempo slowly.  To select between Speed Up and Slow Down for the Slide and Snap modes, just tap both foot switches.  The light will blink to let you know it changed.  If it was Speed Up, it will now be Slow Down.

Internally, there is a “Brightness” pot that adjusts the tone of the repeats.  All the way up is bright, with a lot of clock noise coming through. All the way down is very dark.  2 O’clock seems to be a good “middle ground” for my ear.

Check it out here....

RRP - $340,  DLX PRICE - $315

NAMM 2011 - Rumours

With the NAMM show in LA starting this week, there are a lot of rumours about new products and releases from a lot of guitar manufacturers around the world.


Here are a few that are getting us @ deluxe guitars excited:

Eventide - SPACE

Blackcat - Mini Trem

Malekko - E. Filter

Strymon - Lex

Diamond - Memory Lane Jnr, Maquis Germanium Boost, Overdrive

Effector 13 - Console II

Red Witch - Seven Sisters (see post below)

Rockbox Electronics - Baby Blues Overdrive

Eventide - Power Factor (Regulated, Linear power supply to power up to 3 factor series pedals)


Mad Professor - Stone Grey Distortion


and many more to yet be announced.....

Red Witch - Seven Sisters