Howdy Friends! I have a few shows that have been added for the end of this year. Be sure to take a look at my schedule on the “shows” tab of my website. I hope to see you all soon!
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Recently I was able to get a prototype pedal from my friend Bill Ferguson from Peavey Electronics. This pedal features the classic Nashville 400 preamp, in a box weighing less than a couple pounds! (How’s that for saving your back??) The 400 features all of the classic front knob controls from the Nashville 400, minus the reverb.
Peavey amps are as important to the steel guitar community as Emmons and Sho-Bud steel guitars. Without their influence in the early days of steel guitar, the sound would not have developed without their innovation. This pedal is no exception to that rule. I am glad that Peavey has started stepping back into the steel guitar community we need to let them know how appreciative we are of that.
I have a LTD 400, Sesh 400(tc electronic), and now the Nashville 400 preamp. By far, through my testing the Nashville 400 has been the cleanest and easiest to get a tone that I love. I am running from my Hilton VP, into a Benado steel dread, into the Nashville 400, a Straight Ahead power amp and then into a TT15 speaker in a cheap cabinet (eBay). This rig with the addition of the Nashville 400 is getting some of the best tones I have been able to achieve in my career. You can see above, these are the settings that I have been using so far, but that could change depending on the room size and temperature. Note also that I like to drive the Pre Gain section a little bit, this gives a really nice breakup when I lean into the volume a bit.
Please get in touch with my friend Bill at bferguson1947@gmail.com to order one of these pedals, you won’t regret it! I will be posting sound samples soon. My studio computer is in need of repairs and I can’t record right now, but I’ll have some samples out soon as soon as that is remedied hopefully by next week.
This is my reverb settings for the Nashville 400 pedal. I have tried to get it as close to the original reverb in the amps as I could. Of course, the Benado has a completely different design and sound as a true spring reverb, but this got me close.
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Howdy Friends! As most of you know, I have been working on an album with Tracy Valentine and Garry MacDonald titled Child of The King. We are in the final stages of the release and all of the songs are finished. If you would like a copy of the CD please let me know, or you will also be able to find it on iTunes, Spotify, or YouTube.
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Jaclyn Bullock and I were honored to be at Moore’s Chapel Baptist Church in London, Kentucky, this Sunday, September 14, 2025. We were grateful for the opportunity to share songs from our album and enjoyed connecting with so many welcoming and kind members of the congregation.
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Hey friends!
I’m excited to share that a new album will soon be released under my label, Bradshaw Studios, titled Child of the King. This is a gospel album featuring all original songs written and arranged by Tracy Valentine. Tracy, Garry Macdonald, and I have been working on this project for nearly a year, and it’s now in the final stages of production.
While I don’t have an official release date just yet, I’ll be sure to keep you posted. The album will be available on iTunes, Spotify, Apple Music, and YouTube Music once it’s out.
Although I’ve contributed to several other albums in smaller roles, this will be my second full-length project—and I couldn’t be more excited. Working in my new studio has been a real joy. It’s finally become the creative and inspiring space I’ve always hoped for.
If you have any questions about the album, feel free to reach out!
— Avery
I’m excited to share that a new album will soon be released under my label, Bradshaw Studios, titled Child of the King. This is a gospel album featuring all original songs written and arranged by Tracy Valentine. Tracy, Garry Macdonald, and I have been working on this project for nearly a year, and it’s now in the final stages of production.
While I don’t have an official release date just yet, I’ll be sure to keep you posted. The album will be available on iTunes, Spotify, Apple Music, and YouTube Music once it’s out.
Although I’ve contributed to several other albums in smaller roles, this will be my second full-length project—and I couldn’t be more excited. Working in my new studio has been a real joy. It’s finally become the creative and inspiring space I’ve always hoped for.
If you have any questions about the album, feel free to reach out!
— Avery
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Had an amazing time performing at the Renfro Valley Alumni Show this past weekend! A big thank-you to Kathee Staton for hosting and for all the hard work she put into making the night such a success. Here are a few photos from the show—and stay tuned, I’ll be uploading some video highlights to my YouTube channel soon!
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Why the Brent Mason Telecaster Is My New Favorite Guitar
Let’s be honest—who doesn’t get excited about a new guitar? I know I do. Over the years, I’ve cycled through a handful of Telecasters (four, to be exact), each with its own quirks and character. But ever since Fender released the Brent Mason Signature Telecaster around 2020, I’ve had my eye on it. And now that I finally have one in my hands, I can say—it was worth the wait.
I’ve been a huge fan of Brent Mason’s playing for years. The guy’s a legend. And this guitar really feels like it was built with working players in mind. The standout feature for me? The Glaser B-Bender system. It’s a total game-changer.
I’ve tried installing HipShots on my previous Teles, but they never quite clicked with me. The mechanism always felt a bit clunky and unnatural. But the Glaser system is smooth and rock solid.
First Impressions: Looks and Feel
The guitar’s aesthetic is understated but classy—finished in a sleek matte gray with a maple neck and matching maple fretboard. It’s got that clean, professional look.
It’s comfortable to play, well-balanced, and feels immediately familiar—especially with the matte finished neck.
Under the Hood: The Electronics
This Tele is loaded with Seymour Duncan pickups and an incredibly versatile control layout. You’ve got:
• A mini humbucker in the neck position that brings in warm, full-bodied Gibson tones.
• A three-way switch combined with a three-knob control plate, including a blend knob that lets you bleed in the middle pickup with any setting.
That blend knob is especially clever—it’s perfect for taming the brightness of the bridge pickup or adding just a touch of warmth and body to your tone.
The Tone: One Guitar, Many Voices
This guitar is a tonal Swiss Army knife. Whether I’m chasing the classic bright Tele twang, dialing in a fat, bluesy neck sound, or blending tones for something more nuanced—this guitar handles it all with ease. It truly lives up to the “jack of all trades” label, without sacrificing quality in any area.
Brent Mason clearly knew what he was doing when he designed this guitar. It’s built to cover ground—country, rock, blues, session work, you name it. If you’re a gigging guitarist or studio player looking for one do-it-all instrument, this one is tough to beat.
A Personal Touch
Just to add a little something extra to the experience—these photos below are of my actual guitar, straight from the good folks at Sweetwater. They always do a great job with setup and shipping, and this one arrived ready to play right out of the box. The last photo is of me working on some tracks in my studio the first day I received the guitar.
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Final thoughts?
The Brent Mason Telecaster is one of the most versatile guitars I own, and it’s quickly becoming the one I reach for first—whether I’m recording, gigging, or just jamming at home. If you’re even thinking about picking one up, do it. You won’t be disappointed. Let me know your thoughts as well!
Let’s be honest—who doesn’t get excited about a new guitar? I know I do. Over the years, I’ve cycled through a handful of Telecasters (four, to be exact), each with its own quirks and character. But ever since Fender released the Brent Mason Signature Telecaster around 2020, I’ve had my eye on it. And now that I finally have one in my hands, I can say—it was worth the wait.
I’ve been a huge fan of Brent Mason’s playing for years. The guy’s a legend. And this guitar really feels like it was built with working players in mind. The standout feature for me? The Glaser B-Bender system. It’s a total game-changer.
I’ve tried installing HipShots on my previous Teles, but they never quite clicked with me. The mechanism always felt a bit clunky and unnatural. But the Glaser system is smooth and rock solid.
First Impressions: Looks and Feel
The guitar’s aesthetic is understated but classy—finished in a sleek matte gray with a maple neck and matching maple fretboard. It’s got that clean, professional look.
It’s comfortable to play, well-balanced, and feels immediately familiar—especially with the matte finished neck.
Under the Hood: The Electronics
This Tele is loaded with Seymour Duncan pickups and an incredibly versatile control layout. You’ve got:
• A mini humbucker in the neck position that brings in warm, full-bodied Gibson tones.
• A three-way switch combined with a three-knob control plate, including a blend knob that lets you bleed in the middle pickup with any setting.
That blend knob is especially clever—it’s perfect for taming the brightness of the bridge pickup or adding just a touch of warmth and body to your tone.
The Tone: One Guitar, Many Voices
This guitar is a tonal Swiss Army knife. Whether I’m chasing the classic bright Tele twang, dialing in a fat, bluesy neck sound, or blending tones for something more nuanced—this guitar handles it all with ease. It truly lives up to the “jack of all trades” label, without sacrificing quality in any area.
Brent Mason clearly knew what he was doing when he designed this guitar. It’s built to cover ground—country, rock, blues, session work, you name it. If you’re a gigging guitarist or studio player looking for one do-it-all instrument, this one is tough to beat.
A Personal Touch
Just to add a little something extra to the experience—these photos below are of my actual guitar, straight from the good folks at Sweetwater. They always do a great job with setup and shipping, and this one arrived ready to play right out of the box. The last photo is of me working on some tracks in my studio the first day I received the guitar.
⸻
Final thoughts?
The Brent Mason Telecaster is one of the most versatile guitars I own, and it’s quickly becoming the one I reach for first—whether I’m recording, gigging, or just jamming at home. If you’re even thinking about picking one up, do it. You won’t be disappointed. Let me know your thoughts as well!
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I bought this amp back in 2021 to replace my trusty Twin Reverb, which I’d been hauling around for years. After all that lugging, I wanted something more portable and easier to carry.
As many of you probably know, this is the amp endorsed by Paul Franklin, with his name proudly displayed on the front. That alone caught my attention, but I did a lot of research to make sure it fit my needs. At the time, I was playing both electric guitar and pedal steel in the same sets, so I needed an amp versatile enough for both. When I reached out to Phil at Little Walter, he assured me it had a clean sound similar to my Twin Reverb, making it perfect for pedal steel and electric guitar. He also mentioned that with a tube swap, it could even work great as a bass amp! That sold me, so I ordered the amp with two 1x12 cabinets. While waiting, I was in the police academy, which helped curb my excitement a bit.
A few months later, it arrived, and Phil even helped me name it “June” in the owner’s manual after my late great-grandmother who raised me. From the moment I powered it up and dialed in my tone, I was hooked. The EQ works a bit differently than I expected—Phil advised me to start with all the tone knobs fully up and use them more as cuts than boosts, which is quite the opposite of the Twin Reverb’s approach. I really like that concept and found it easy to get great sounds right away. The amp stays incredibly clean, even at high volumes. Speaking of volume, this thing is loud—I usually keep it around 20% or less. When playing steel guitar, having that headroom for sustaining notes is fantastic.
All in all, the PF-89 is my favorite amp and one I plan to keep for life. I honestly can’t imagine using anything else. Someday down the line, I’d like to add a smaller Little Walter amp for gain, but that’s a few years away. If you’re interested, definitely give Phil at Little Walter a call—he’ll take great care of you!
As many of you probably know, this is the amp endorsed by Paul Franklin, with his name proudly displayed on the front. That alone caught my attention, but I did a lot of research to make sure it fit my needs. At the time, I was playing both electric guitar and pedal steel in the same sets, so I needed an amp versatile enough for both. When I reached out to Phil at Little Walter, he assured me it had a clean sound similar to my Twin Reverb, making it perfect for pedal steel and electric guitar. He also mentioned that with a tube swap, it could even work great as a bass amp! That sold me, so I ordered the amp with two 1x12 cabinets. While waiting, I was in the police academy, which helped curb my excitement a bit.
A few months later, it arrived, and Phil even helped me name it “June” in the owner’s manual after my late great-grandmother who raised me. From the moment I powered it up and dialed in my tone, I was hooked. The EQ works a bit differently than I expected—Phil advised me to start with all the tone knobs fully up and use them more as cuts than boosts, which is quite the opposite of the Twin Reverb’s approach. I really like that concept and found it easy to get great sounds right away. The amp stays incredibly clean, even at high volumes. Speaking of volume, this thing is loud—I usually keep it around 20% or less. When playing steel guitar, having that headroom for sustaining notes is fantastic.
All in all, the PF-89 is my favorite amp and one I plan to keep for life. I honestly can’t imagine using anything else. Someday down the line, I’d like to add a smaller Little Walter amp for gain, but that’s a few years away. If you’re interested, definitely give Phil at Little Walter a call—he’ll take great care of you!
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MSA Pedal Steel 2009 (approximately)
D10 with 9 pedals and 5 knee levers.
I was fortunate to purchase this guitar used in 2023 from my friend Garry Skelton. It features a beautiful maple cabinet with a striking red sunburst finish. The high-polish metal hardware remains in immaculate condition.
The tone closely resembles the classic Emmons sound from the “LeGrande” era—rich, full, and incredibly expressive. The playing action is exceptionally smooth, with minimal play in the pedals. I prefer a highly responsive feel in both the pedals and knee levers, and this guitar delivers that.
My only minor complaint is that the L-frets don’t illuminate as brightly as I’d like. However, I suspect this may be due to a battery issue rather than a fault in the original design.
In 2024, I placed an order for a new MSA D10 in a natural dark finish, and I’m still eagerly awaiting its arrival. MSA has certainly earned my loyalty for life!
D10 with 9 pedals and 5 knee levers.
I was fortunate to purchase this guitar used in 2023 from my friend Garry Skelton. It features a beautiful maple cabinet with a striking red sunburst finish. The high-polish metal hardware remains in immaculate condition.
The tone closely resembles the classic Emmons sound from the “LeGrande” era—rich, full, and incredibly expressive. The playing action is exceptionally smooth, with minimal play in the pedals. I prefer a highly responsive feel in both the pedals and knee levers, and this guitar delivers that.
My only minor complaint is that the L-frets don’t illuminate as brightly as I’d like. However, I suspect this may be due to a battery issue rather than a fault in the original design.
In 2024, I placed an order for a new MSA D10 in a natural dark finish, and I’m still eagerly awaiting its arrival. MSA has certainly earned my loyalty for life!
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The TC Furlong Sesh 400 is a meticulously crafted steel guitar preamp pedal that pays homage to the revered 1970s Session 400 combo amp. Designed specifically for steel guitarists seeking authentic vintage tone in a compact form, the Sesh 400 offers a blend of classic warmth and modern convenience.
Built in the USA, the Sesh 400 boasts a 100% discrete transistor circuit—meaning it contains no integrated circuits (ICs). This design choice ensures a more organic and dynamic response, closely emulating the original Session 400's analog warmth. The pedal operates at the same voltage as the original amp, using a standard 9V power supply, making it versatile and easy to integrate into various setups.
The Sesh 400 is equipped with a comprehensive set of controls to shape your tone:
Okay, enough of the data-here’s my take. I am currently running the Sesh 400 pedal after my Benado and into a Ganz Straight Ahead power amp, then into a variety of cabinets depending on what I am feeling that day. The controls are very sensitive, but each EQ function is perfectly in tune with where a steel guitar’s needs to sit in a mix. The Sesh 400 gives me the vintage Peavey tone that I really love to hear, and it’s much less weight to carry around. I currently have a variety of solid state and tube amps, but the Sesh 400 is definitely going to be my go to for quick and great sounding tones. I was fortunate enough to pick this pedal up used on the Steel Guitar Forum for a fraction of the new price and after using it I would gladly have paid full price for it. Try one out, you won’t be disappointed.
Built in the USA, the Sesh 400 boasts a 100% discrete transistor circuit—meaning it contains no integrated circuits (ICs). This design choice ensures a more organic and dynamic response, closely emulating the original Session 400's analog warmth. The pedal operates at the same voltage as the original amp, using a standard 9V power supply, making it versatile and easy to integrate into various setups.
The Sesh 400 is equipped with a comprehensive set of controls to shape your tone:
- Master Volume: Adjusts the overall output level.
- Bass: Tailors the low-end frequencies.
- Mid: Modifies the midrange tones.
- Treble: Controls the high frequencies.
- Mid Shift: Alters the midrange frequency center.
- Presence: Adds brightness and clarity.
- Sensitivity: Adjusts the input gain for different playing dynamics.
- Authentic Tone: Faithfully replicates the vintage Session 400 sound.
- High-Quality Build: Premium components and construction ensure longevity.
- Versatile Controls: Extensive tonal shaping options to suit various playing styles.
- Portable: Compact design makes it easy to transport and integrate into pedalboards.
Okay, enough of the data-here’s my take. I am currently running the Sesh 400 pedal after my Benado and into a Ganz Straight Ahead power amp, then into a variety of cabinets depending on what I am feeling that day. The controls are very sensitive, but each EQ function is perfectly in tune with where a steel guitar’s needs to sit in a mix. The Sesh 400 gives me the vintage Peavey tone that I really love to hear, and it’s much less weight to carry around. I currently have a variety of solid state and tube amps, but the Sesh 400 is definitely going to be my go to for quick and great sounding tones. I was fortunate enough to pick this pedal up used on the Steel Guitar Forum for a fraction of the new price and after using it I would gladly have paid full price for it. Try one out, you won’t be disappointed.
