Trace Elliot® debuts the new Transformer DI. Designed for all musical instrument applications, using a new proprietary transformer design, the DI converts between balanced and unbalanced signals at a perfect 1-to-1 ratio with audiophile quality and total transparency. With a frequency response between 14Hz and 80kHz, this unit is essential for five-string bassists, other drop-tuned instruments, and artists wanting the sound of their instruments uncolored by the PA interface. The new transformer DI is now available worldwide via online and local retailers.

A transformer DI (direct-interface) box is a 100% passive impedance conversion device that converts unbalanced signals into balanced signals for direct connection to mixing consoles and recording devices. The Trace Elliot Transformer DI sets itself apart from active DI boxes by providing a pristine signal path that will never suffer clipping or distortion between the source and the balanced input. Furthermore, it outperforms other passive DI boxes by its ability to do so far beyond the range of human hearing. By balancing the signal, the transformer DI reduces noise and interference while keeping signal integrity. Its durable die-cast enclosure and high-quality parts provide steady signal performance for both live and studio environments.

With individual ¼” and XLR jacks for both inputs and outputs, and a recessed GROUND LIFT button, this unit is an essential must-have for any professional musician or audio engineer.

For more information, please visit www.traceelliot.com

Retail: $229.99 USD

Fender Musical Instruments Corporation (FMIC) today announced the launch of the Vintera III Series, the next evolution of its acclaimed vintage-inspired lineup. Reimagined from the ground up, the highly anticipated range delivers meticulously crafted instruments that capture the defining sounds, aesthetics and feel of the early, mid and late ’50s, ’60s and ’70s.

Designed for players seeking true vintage character, the Vintera III series introduces an all-new philosophy: a targeted focus on iconic moments in Fender history. This “greatest hits” approach highlights some of the most celebrated specifications from the company’s golden eras, giving musicians access to some of the most revered tones ever produced.

This refined direction marks a significant evolution from previous Vintera collections – while earlier generations drew broadly from generations of production, the Vintera III Series narrows its focus to distinct, era-defining designs, allowing Fender to achieve a new level of historical accuracy and authenticity. Every instrument in the range reflects painstaking attention to detail – from period-correct aesthetics and colours, to carefully recreated neck construction and pickups – faithfully capturing the look, feel and sonic character of legendary vintage Fender models.

“With the Vintera III Series, we set out to capture the defining moments that shaped Fender’s legacy,” said Max Gutnik, Chief Product Officer at Fender. “Rather than broadly representing entire decades, we focused on the most iconic specifications that players continue to seek out today. By zeroing in on these historic designs – from era-correct pickups and neck profiles to period-accurate aesthetics – we’re giving today’s musicians an authentic connection to the instruments that helped define modern music.”

To ensure era-accurate tone, Fender’s engineers revisited the company’s original archives, developing vintage-style pickups matched to each period. Players will experience the warm, rounded character of Alnico II and the punch and clarity of Alnico V designs.

The Vintera III Series also faithfully recreates Fender’s historic neck profiles, from the substantial V and D shapes of the mid and late ’50s to the comfortable medium C profiles of the early ’60s and the slimmer C shapes that defined the late ’60s and early ’70s. Each model is completed with era-specific headstocks, decals, fingerboard inlays, stamps and finishes, delivering an instrument that feels as authentic as it sounds.

With Vintera III, Fender brings the spirit of its most influential eras to a new generation of players – offering a lineup that celebrates the instruments, tones and innovations that helped shape modern music.

Models include: 

• Vintera® III Late ‘50s Stratocaster® 
• Limited Edition Vintera® III Late ‘50s Stratocaster®
• Vintera® III Early ‘60s Stratocaster® 
• Vintera® III Late ‘60s Stratocaster® 
• Limited Edition Vintera® III Early ‘60s Custom Telecaster®
• Vintera® III Late ‘50s Telecaster® 
• Vintera® III Mid ‘60s Telecaster® 
• Vintera® III Mid ‘60s Jazzmaster®
• Vintera® III Mid ‘60s Jaguar® 
• Vintera® III Mid ‘60s Mustang® 
• Vintera® III Early ‘60s Jazz Bass®
• Vintera® III Early ‘70s Jazz Bass®
• Vintera® III Late ‘60s Precision Bass® 
• Vintera® III Early ‘60s Bass VI

For more information, visit fender.com

Disclaimer: This pedal was kindly provided by Donner Music for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.

Triple Threat… A compact burst of analog attitude with unexpected appeal for bass players.

Multi-effects pedals are not usually the first stop for bassists. Most of us build our rigs piece by piece, choosing pedals that preserve low end and offer precise control. The Donner Triple Threat Pedal, created in collaboration with Jack White’s Third Man Hardware, takes a very different approach. It keeps things simple: distortion, phaser, and echo, all in one compact unit, with no menus or deep editing, just knobs and footswitches.

At first glance, it feels like a guitar pedal through and through. But spend a little time with it on bass, and it starts to reveal a different kind of usefulness, less about precision, more about character.

Built around simplicity

The Triple Threat is all about immediacy. Each effect has its own dedicated controls and footswitch, making it easy to dial in sounds quickly without overthinking the process. There’s something refreshing about plugging in and getting straight to experimenting, especially for bass players who are used to more complex signal chains.

The compact enclosure makes it easy to fit onto almost any pedalboard or even use as a standalone unit for rehearsals and smaller gigs. That said, the small size does mean the knobs are quite tight and not the easiest to adjust mid-performance. It’s a minor compromise, but one that becomes noticeable on a dark stage.

Analog character

Rather than aiming for clean, studio-like tones, the Triple Threat leans into a more raw and expressive sound. This becomes particularly apparent in the distortion section. It delivers a gritty, garage-inspired voice that can add real personality to a bass line, especially in indie or lo-fi contexts.

On bass, the key is restraint. Lower gain settings bring out a nice edge without sacrificing too much low end, while higher settings can start to thin things out. Without a blend control, there’s no easy way to bring back the fundamentals once it’s gone, so it rewards a lighter touch.

The phaser is more immediately cooperative. With slower rates and moderate depth, it adds movement without overwhelming the core tone. It’s the kind of effect that works best when you don’t notice it right away, but feel it sitting underneath the groove.

The echo section stands out as the most naturally suited for bass. It’s warm, slightly dark repeats sit comfortably behind the dry signal, adding space without clutter. Whether used subtly or pushed into more ambient territory, it complements the instrument rather than competing with it.

Real-world perspective

The Triple Threat has also found its way onto the pedalboard of Dominic John Davis, bass player for Jack White, which gives some insight into how it functions in a professional setting.

Looking at his broader setup, typically including tools like the Boss TU-3 Chromatic Tuner, MXR M108 Ten Band Graphic EQ, and boutique pedals such as the Mantic Effects Vitriol and Mantic Effects Isaiah Delay, it becomes clear that the Triple Threat isn’t a centerpiece. Instead, it serves as a flexible addition, a way to access a few extra textures without expanding the pedalboard further.

That context is important. For bass players, this isn’t about replacing carefully chosen pedals, but about adding something a little different to the mix.

Versatility in practice

In practical use, the strength of the Triple Threat lies in how quickly it lets you shift between sounds. Having three effects available at your feet without needing multiple pedals can be surprisingly useful, especially in stripped-down setups.

It’s easy to imagine it being used in rehearsals, smaller gigs, or situations where portability matters. It also lends itself well to experimentation, encouraging players to step outside their usual tonal comfort zones.

At the same time, its limitations remain part of the experience. The distortion’s guitar-oriented voicing and the absence of a blend control mean it won’t satisfy players looking for a fully optimized bass overdrive. Instead, it offers something a bit less predictable, and that’s part of its charm.

The Donner Triple Threat Pedal isn’t trying to be a precision tool, and it doesn’t need to be. What it offers is a straightforward, character-driven set of effects that invite exploration.

For bass players willing to approach it on those terms, it can be a surprisingly inspiring addition. It won’t replace a dedicated pedalboard, but it can add texture, movement, and a bit of unpredictability in a way that feels immediate and fun.

For more information, visit online at donnermusic.com

EBS Professional Bass Equipment is proud to announce Hyperactive Audiotechnik GmbH as its new exclusive distributor in Germany and Austria, effective March 1, 2026.

Germany is the largest domestic market for musical equipment in Europe, and is significant to EBS. Partnering with Hyperactive will strengthen the brand’s presence and make EBS products more accessible to bass players in both Germany and Austria.

“We are confident that Hyperactive is the perfect partner for EBS,” says Bo Engberg, CEO of EBS. “Their deep market knowledge and commitment to high-quality brands will allow us to maintain the high level of customer support EBS is known for, while growing in the direction we want.”

EBS’s reputation for delivering musically transparent sound that respects the character of the bass is solid. EBS products are designed to let the personalities of both the bass player and their instrument shine, while offering powerful, tone-shaping tools to set the stage for different genres.

In recent years, EBS has also expanded beyond the traditional bass market with innovative, space-saving pedalboard accessories, most notably the original flat patch cables, widely used by both bassists and guitarists worldwide.

Hyperactive has extensive experience distributing premium music equipment brands. Their network, industry expertise, and shared vision for long-term growth make this partnership a natural fit.

“We are proud to welcome EBS to our brand portfolio. With our strong dealer network and clear brand strategy, we look forward to further developing EBS in Germany and Austria and increasing the brand’s visibility in both markets”, says Marc von Garnier, CEO of Hyperactive.

EBS expresses its gratitude to its former distributor, Sky Music Distribution, and looks forward to beginning this next chapter with Hyperactive Audiotechnik GmbH to deliver uncompromising bass tone, innovative design, and reliable performance to musicians all over Germany and Austria.

Find out more:

hyperactive.de
ebssweden.com

Disclaimer: This pedal was kindly provided by Valeton for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.

Two Paths to the Same Goal: Better Workflow, Real Control

Valeton’s GP series has followed a clear and consistent trajectory. The GP-5 introduced the core sound engine in an ultra-compact, app-driven format, proving that solid tones could exist in a minimal footprint, but at the cost of hands-on control. The GP-50 took a major step forward by adding onboard editing and a second footswitch, making the platform far more usable without relying on external devices.

With the GP-150 and GP-180, Valeton shifts the focus again, this time toward how players actually interact with their sound while playing.

These aren’t about reinventing the tone engine. They’re about making it more accessible, more flexible, and ultimately more musical in real-world use.

It’s also worth noting that while these pedals build on workflow ideas introduced in smaller GP units like the GP-5 and GP-50, the GP-150 and GP-180 are more closely related to the GP-100 platform, positioned as more complete, floorboard-style solutions rather than compact multi FX.

The Big Picture

Both the GP-150 and GP-180 share the same core foundation:

• 200+ effects
• NAM (Neural Amp Modeler) support
• IR loading (up to 20 files)
• 12-module fully flexible signal chain
• Looper (180 seconds) and drum machine
• USB audio interface and Bluetooth connectivity
• Built-in rechargeable battery

So in terms of sound and raw capability, they’re very similar.

The real difference comes down to workflow and control.

GP-150: Compact Rig with Real Expression

The GP-150 is where the platform starts to feel like a proper, self-contained rig.

The standout feature here is the built-in expression pedal. That alone changes how you use the unit. Instead of just switching presets or toggling effects, you can actively shape your sound in real time… volume swells, wah, parameter control… it’s all immediately available.

Combined with dual footswitches and onboard editing, the GP-150 strikes a strong balance
between portability and control. It carries forward the independence introduced in the GP-50,
but expands it into something more expressive and complete.

It’s especially appealing for players who want a minimal setup that still feels dynamic and
responsive.

GP-180: Hands-On Control, Pedalboard Feel

The GP-180 takes a different approach. Instead of adding expression, it doubles down on direct
control.

The addition of a third footswitch already makes navigation more natural, but the real shift
comes from the dedicated effect block buttons.

Each block has its own button, which lights up when active and can be toggled instantly. That
means you can turn distortion, delay, modulation, or reverb on and off with a single press—no
menu diving, no reassignment needed.

In practice, this makes the GP-180 feel much closer to a traditional pedalboard. You’re not just
switching presets, you’re interacting directly with your signal chain, something that wasn’t really possible with the more minimal GP-5 or even the GP-50.

For live use, that immediacy makes a big difference.

Tone & Real-World Use

Both units share the same sound engine lineage, and overall quality remains strong.

There are more effects available compared to earlier models, and the addition of NAM support
opens the door to more realistic amp tones and modern workflows.

One of the most noticeable improvements, particularly for bass players, is the octave tracking. Lower octave sounds are significantly tighter and more usable than in earlier GP units like the GP-5, making them far more practical in a mix. Higher octaves still feel a bit clunky, but the improvement where it matters most is clear.

In terms of real-world use, both pedals are flexible enough to cover practice, recording via USB, direct-to-PA live setups, and compact fly rigs.

That said, they cater to slightly different players.

Which One Should You Choose?

Go for the GP-150 if:

• You want a compact, all-in-one unit
• Expression control is important to your playing
• You prefer a streamlined setup with minimal footprint

Go for the GP-180 if:

• You play live and need faster, more direct control
• You prefer a pedalboard-style workflow
• You want to toggle effects individually rather than relying on presets

The GP-150 and GP-180 aren’t competing pedals; they’re two different interpretations of the same idea.

The GP-150 focuses on expression and portability, giving you a compact rig that still feels
dynamic and interactive, something that builds directly on the usability improvements
introduced after the GP-5.

The GP-180 focuses on control and immediacy, turning the GP platform into something that
feels much closer to a traditional pedalboard.

Both share the same solid tonal foundation, but they approach usability in different ways.

And that’s really what this generation of the GP series is about, not just sounding good, but
feeling right under your hands and feet.

Visit online at valeton.net/