Issuu

August 2026

The Magazine Dedicated To Music, Artistry And The Custom Lifestyle

Dena Cowlishaw sits down with Paul Clark of Tacoma’s very own Faces Pale to discuss their 30-year history and how these thrash-metal survivors are stepping into an exciting new era. P.10

Contents... Letter From The VP : Pray For Seattle

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Get’m Get’m: Ft. Jason Caine Of The Lion Within

P. 5

Tonex Brown Panel

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Dena Cowlishaw Sits Down With Faces Pale Of Seattle,Wa

P. 10-11

Album Review Of Adelita’s Way New Album Timothy Cheney

P.12-13

Sherry Keith; Mystic Photography continues her up close and personal view into the Vegas music scene.. P.22

Mystic Photography Concert Series Adelitas Way

P. 14-15

Order In The Chaos

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Helpful Band Tips: Brien DeChristopher The Metal Community Rallies For Chris Holmes

P.18-19 P.23

Wicked D Photography Covering The Seattle Scene With Faces Pale

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CV WorldWide Magazine

Locally Owned / Nationally Known

Wicked DD Photo Covering Everything Seattle With Photography, Interviews And Articles P.32

proval. Publisher assumes no financial responsibility for the errors in ads beyond the cost of space occupied by error. Publisher is not liable for: any slandering of an individual, or group as we mean no malice or individual criticism at any time; nor are we responsible for the opinions or comments of our columnists; and promises, coupons, or lack of fulfillment from advertisers who are solely responsible for the content of their ads. Publisher is also to be held harmless from: failure to produce any issue as scheduled due to reasons beyond control; all suits, claims or loss of expenses; this includes but is not limited to, suits for libel, plagiarism, copyright infringement and unauthorized use of a person’s name or photograph.

. There are moments when words never feel like enough. The nurses, and hospital staff who acted quickly to care for the vicheartbreaking tragedy that unfolded during the Bite of Seattle tims and protect others during this unimaginable event. on July 26th, has left a city, and so many people across the country, grieving. What should have been a celebration of Today, we ask everyone to join us in keeping Seattle in your community, food, music, and togetherness instead became the thoughts and prayers. May those who lost their lives be rescene of unimaginable violence. membered with love, may those recovering from their injuries find strength and healing, and may the families affected find Our hearts are with the victims, those who tragically lost their comfort in the support of their community. lives, everyone who was injured, their families, first responders, medical personnel, and every person whose life has been Seattle, you are not alone. forever changed by this senseless act. No family should ever have to receive a phone call that their loved one isn't coming From all of us at CV Worldwide Magazine, our deepest conhome. dolences and unwavering support go out to everyone affected. As someone who proudly called Seattle home, this tragedy is especially difficult to process. Seattle has always been a city filled with resilience, creativity, and heart. Seeing it endure another act of violence is devastating. At CV Worldwide Magazine, we believe that moments like these remind us of the importance of standing together. Regardless of where we live, we can all take a moment to send our thoughts, prayers, love, and support to those who are hurting. Healing takes time, and an entire community will need that support in the days and weeks ahead. We also want to recognize the courage of the first responders, law enforcement officers, firefighters, paramedics, doctors,

Please continue to pray for Seattle.

IK Multimedia releases the Brown Panel Signature Collection for TONEX, a premium collecNine Rare Brown Panel Amplifiers The collection includes 80 Tone Models based on nine Brown Panel-era amplifiers, each captured across a wide range of settings to reveal its unique voice, feel, and playing dynamics. The collection features Tone Models based on a 1960 Concert Amp, a 1962 Vibrolux®, a 1960 Bandmaster, a 1961 Deluxe™ Amp, a 1962 Super Amp, a 1963 Vibroverb™, a 1960 Princeton® 1x10 combo, a 1961 Pro Amp, and a 1963 Vibrasonic™. Together, they deliver a wide palette of authentic American tones, from expansive cleans and sparkling small-combo response to bold 1x15 authority, smooth breakup, and pedal-enhanced lead sounds. Captured Without Compromise Each amplifier was captured using TONEX V2 AI Machine Modeling™ technology through an SSL® 4000G console with carefully selected dynamic, ribbon, and condenser microphones, preserving its original speaker pairing-including vintage JBL®, Jensen®, and Oxford® speakers-to faithfully capture the character and response of the original amplifier. Select Complex Rigs expand the tonal palette with vintage-inspired signal chains featuring pedals and circuits based on the Klon® Centaur®, TS9 Tube Screamer®, Tube Driver, MXR® Distortion+, and the 6G15 Reverb preamp section. Built for Real Players Whether players are looking for shimmering cleans, edge-of-breakup rhythm sounds, expressive blues leads, or vin-

tage-inspired drive, the Brown Panel Signature Collection delivers inspiring tones that fit naturally into modern recording, rehearsal, and live performance workflows. As part of the TONEX ecosystem, these sounds can be used across TONEX software, AmpliTube, TONEX Pedal, TONEX ONE, TONEX ONE+, TONEX Plug, and TONEX Cab, bringing the same authentic tones from studio to stage. Pricing and Availability The Brown Panel Signature Collection is available via ToneNET and all versions of TONEX for Mac/PC for $/€99.99* ($/€79.99 limited-time introductory price), as well as from authorized IK dealers worldwide and the IK Multimedia online store. For a limited time, The Brown Panel will also be offered at no cost with new purchases of TONEX ONE+, IK's ultracompact TONEX pedal featuring full MIDI integration, wireless editing, and studioquality effects. *Pricing excluding taxes. For complete details and audio demos, please visit: www.ikmultimedia.com/tonex-brownpaneltion of 80 Tone Models capturing nine rare Brown Panel-era American amplifiers from 1959-1963. Produced between the Tweed and Black Panel eras, these amplifiers represent one of the most influential chapters in American amplifier history. The Brown Panel Signature Collection delivers their unique balance of warmth, clarity, harmonic richness, and dynamic response, from blooming cleans and edge-of-breakup textures to rich vintage overdrive and expressive lead tones. A Defining Era of American Tone

Brown Panel amplifiers bridged the raw warmth of Tweed designs with the cleaner, more powerful amplifiers that followed. Used across surf, country, blues, and early rock, they helped shape the sound of the early 1960s while offering a distinctive voice unlike anything before or after. From the raw, expressive tones of Chris Stapleton to the Texas blues-rock sounds that inspired ZZ Top and the pristine American cleans later embraced by players like Mark Knopfler, the collection captures the warmth, punch, and dynamic response that made these amplifiers favorites in studios and on stages alike.

The afternoon sun was spilling across the fields when I sat down with Paul Clark at his quiet property just outside Tacoma WA. Before we settled under the shade of the old trees, we wandered into the jam room which to me felt like the heart of the house. Where amps, cables, and decades of music history seemed to hum in the air and hang on the walls. We grabbed a few PBRs, cold from the fridge, a ritual as familiar as tuning a guitar, then went outside, took our seats at an aging round table. His two dogs wandered lazily around our feet, occasionally circling the table as if checking on us. It was a simple, familiar moment that instantly set the tone. Two people

moves, breakups, reunions. All the things that usually tear bands apart. Yet somehow,

talking music on a warm day, no pretense, no polish, just the truth of where

Faces Pale kept finding its way back together, again and again, refusing to fade from the scene they helped define.

this band comes from.I remember that the air smelled like warm grass and dust, and i thought it was a strangely perfect setting to talk about a thrash metal band that has spent the last thirty years carving out its place in the scene. Peaceful, rooted, and unmistakably homegrown. Faces Pale emerged in the summer of 1997, The band rose out of the grittyTacoma/Seattle metal circuit with a sound that was raw, fast, and unapologetically old-school. Their songs hit hard, but beneath the aggression there’s always been something else. Layers of musical storytelling. Riffs that carry memory, and lyrics that build worlds. Even in their heaviest moments, the band has always carried a sense of history and intention, shaped by the people who’ve poured themselves into it over the years. Paul talked about the years like someone paging through a well-worn scrapbook. Numerous drummers. A handful of bassists. Guitarists who came and went. Life pulling

At the center of it all is Paul Clark — founder, vocalist, and lead guitarist. Paul has been active in the Northwest music scene since the early ’90s, first cutting his teeth in a local underground band called Wett Betty, a band that helped shape his raw, melodic meets-aggressive style. From the ashes of Wett Betty, came Timing Chain. Which had three of the five Wett Betty members, a project that pushed him creatively and became a crucial steppingstone in his musical evolution. Lastly, from Chain, Faces Pale was created with Paul and one other member of Timing Chain. During that earlier period, Don Bossart joined Timing Chain as a rhythm guitarist for 2 years. Long enough to mark one of the early points where their musical paths crossed directly. The truth is, Don and Paul had already been part of the same Northwest orbit for a while. They were two musicians moving through the same circles, playing the same shows, sharing stages with the

same bands. Timing Chain wasn’t the foundation of their connection; it was simply one moment in a much longer history between them. That shared lineage, even in fragments, helped lay the groundwork for the trust and chemistry that would resurface decades later in Faces Pale. "Faces Pale didn’t appear out of nowhere; it evolved." Stated Paul. It evolved piece by piece, out of the energy, experimentation, and grit of those earlier projects. And at the heart of that evolution was Paul’s brilliance as a songwriter and lyricist and his ability to collaborate with others. Songs that tell stories, songs that stay with people which became the backbone of Faces Pale’s identity. His creativity and tenacity are the thread that carried the band from its earliest days to the present.Six months after Faces Pale came together, they recorded their album Demo (lished)

thing quieter and more enduring: acommunity, a legacy, a sound that belongs to the soil of Tacoma itself. Their music is aggressive, yes. It’s fast, sharp, and unapologetic but the people behind it are grounded, steady, and deeply connected to the place they call home. As the sun dipped lower behind the trees, our conversation drifted from past to future. New songs. New shows. New energy. And the tone of it all was laid back. Easy smiles, light-hearted jokes, the type of relaxed back-andforth that happens when people are simply comfortable in each other’s company. It was a reminder that beneath the speed, the volume, and the intensity of Faces Pale’s music, there’s a foundation of genuine connection and shared enthusiasm that keeps the band alive.

Faces Pale stands at a rare moment. A band with decades behind them and a new surge of energy ahead. With A New Chapter Begins new songs in the works and a lineup built on both legacy Now, in 2026, Faces Pale is stepping into a new chapter. and fresh talent, they’re stepping into their next era withOne shaped by both continuity and change. Their longconfidence. Thirty years in, they’re still loud, still fast, time drummer, Andrew Anderson, has moved into the role still hungry. And they are still here. of rhythm guitarist, bringing a percussive sensibility to A band that refuses to fade. the strings that adds a new texture to their sound. It’s a shift that feels natural, almost inevitable, given Andrew’s A band that keeps coming back together. deep history with the band and his instinctive underA band that still has something to say. standing of their musical DNA. On bass, Don Bossart joins the lineup. His arrival carries decades of Northwest metal history with it. Don has been part of the scene since the late ’80s, founding the band Blood Ritual and cofounding Psychosis, both staples of the region’s underground metal lineage. He’s spent most of his career as a rhythm guitarist, carving out a reputation for tight, driving riffs and a relentless work ethic. His current band, Beyond Theory, remains active. A testament to his longevity and influence. Faces Pale is the first band where Don has stepped into the role of bass guitarist, and the result is nothing short of brutal. His bass playing doesn’t just support the music; it shreds. It growls. It hits with a force that feels perfectly matched to Faces Pale’s aggressive, fastmoving sound. Don brings weight,precision, and a seasoned intensity that locks in with the band’s rhythm and pushes their music forward with new momentum. It’s a natural fit, almost uncanny, as if this chapter had been waiting for him. Behind the drum kit, Faces Pale welcomes newest member, Tyler Higley, formerly of Massacre at the Opera. Tyler brings a fresh spark, a new pulse, and tight, aggressive drumming that fits seamlessly into the band’s evolving sound. His arrival marks a bridge between two corners of the Pacific Northwest metal underground, a passing of energy from one legacy to another. Together, this new lineup feels less like a reinvention and more like a continuation. The next ring in a tree trunk that’s been growing for three decades. Still Loud. Still Fast. Still Here. Faces Pale has never been about fame or trends. They’ve never chased the spotlight. Instead, they’ve built some-

Written by Dena Cowlishaw Seattle, WA

As a songwriter myself, I‘ve always just written anced by harder submissions like ―Fearless‖ which songs based purely on inspiration and never attempt exude the message of perseverance and determinato make a song sound a certain way. I think it‘s best tion. A much-needed message in today‘s world. to just let the song naturally become what it needs to ―Fearless‖ actually probably being my favorite track be. Music fans can detect when something is conas the words speak very directly to me. That‘s the trived. After listening to Adeltas Way‘s new album I magic of this album though. Between the fact that can tell I‘m in good company. I was surprised to be there are 15 tracks of varying styles and lyrical sent 15 tracks in a day and age where most bands themes, something on this album will likely connect are focused on releasing one track at a time (Which and speak to almost anyone who gives it a listen. Themes like courage, persistence, faith, sincerity I‘ve always thought was a huge mistake) and the virtue of being your true yourself like in This album from the word go is unapologetic. Every- ―Speak My Mind‖. thing sounds very genuine and most certainly not contrived. The vibe of each song is different while In all sincerity I think this album is worth a listen restill maintaining just enough similarity to sound like gardless of the type of music fan you are. Hopefully they all belong on the same album. This is a balanc- more bands follow this formula and return to the art ing act not easily accomplished but, this album somehow pulls it off. The songs weave ever so gently into various genres. It‘s a Rock album but seasoned with flavors of Pop, Country and even a little sign of a Hip-Hop influence. Ballads on the album like ―God‘s Favorite Angel‖ are heartfelt and sound very much like they come from a very sincere place. Those songs are bal-

Order in the Chaos

Dear Indie Bands: Your Friends are not Your Fans

Dear Indie Band, There‗s something I want to share with you. You may not know this – or you might have forgotten – but your friends are not your fans. Shocking? Let me explain. There will come a point in your career when you‗ll start to notice a change in the way you interact with your friends and how they interact with, and ultimately support you. The latter will mostly be a consequence of the former. That is, you will most likely be the cause of your own lost support unless you realize and accept the difference between friend-support and fan-support early on. Friend support Friend-support is that unwavering support that comes from your circle of friends; your offline social network. The friends who‗ve been there since Day 1; or sometimes Day 2; but definitely before the illustrious Day 7 — the day when you‗ve realized you‗ve finally ―made it,‖ which is usually closer to Year 7. It‗s a unique kind of support that cannot be replicated once you‗ve made it big. In the beginning of your career — actually, before you even have a ―career‖ — your friends are investing in you; supporting your being. They may not even be that big of a fan of your music (if at all, in the beginning). Besides, you‗re still defining your sound and honing your craft. Although you may not see it, they are investing their time, their enthusiasm and their limited attention in a group of guys they like (not in their favorite band). These are invaluable assets to a band trying to ascertain if you have the goods — and interest — to do this professionally. Your friends have no more to gain from an association with you than you have to gain from an association with them. Essentially, you‗re on an equal playing field as your future success is uncertain. Their support of your otherwise artistic hobby is genuine and incredibly invaluable. It is your personality and shared interests that keeps them around –again, your being. They are your initial cheerleaders; your initial promotional force. They drive bodies to your unpaid shows when your band has no commercial value. And yes, their own bodies count. They rock out in the front row when no one else seems to give a damn. They sing the lyrics and dance carelessly. They make the difference between 20 people cheering you on and 10 people indifferently nodding through your set — representing nearly 50% of your energy factor. And they invest again. They invest with car fuel, parking lot fees, bar tabs, and possibly late night munchies. They might help you sell tickets. They might even help you ―pay to play‖ by purchasing a $5, $10, or $15 ticket. They see it as a donation since your commercial value, as far as the music ecosystem is concerned, has yet to be established. When you grow, when you build a fan base — partially from the ripple

effect of their early support — remember that they are your friend and not your fan. That is, they are a fan of your music, but a friend of your being. Don‗t treat them like fans. You may include them in your mailing lists; in fact, they want to know what‗s going on before anyone else does. They might pay to see your show, but often they don‗t want to. It‗s not because they do not value you as a band. It‗s because they‗ve invested in you and now feel like part of ―the team.‖ Stay true to them through your being because when you grow distant from your friends, they grow distant from your music and your being. Fan support Fan-support is a kind of support that only strangers can bestow upon your career. It‗s sort of a graduated kind of support that starts with your music, but not with your being. Fan-support comes from strangers who‗ve become fans of your music as a consequence of discovering and liking your music. They may be introduced to your music by someone they know, or their favorite music blog, or a mu-

sic discovery app like Shazaam, or an algorithmic Internet mu- it‗s often due to a lack of new releases or a dramatic change in sic site like Pandora, or a show where you‗ve just happened your pseudo being. But many fans — true fans — will wait. upon the line-up (at least in their view). No matter the discovery, a fan has no initial intimacy with your being the way a friend does. Over time, their support graduates from your music to ~ Brien DeChristopher the idea of your being, which is often defined by their experience of you as an artist and/or the interpretation of your music to their lives. But mostly by a combination of branding and publicity. This is your pseudo being–or your stage being–not your true being that your friends know and support. They invest in your career as well, but from the perspective of a fan. They have no real tangible relationship to you to expect free music, free tickets, free merch or munchies with you after the show. A fan‗s purchase of your $5, $10, or $15 gig ticket is based on perceived value. They don‗t see it as a donation, but rather the inherent cost of being a fan. And this is an important notion, because fans–not friends–fund your career. Fans are also much more easily distracted from your music than your friends. Bad publicity can cause a fan to stop supporting your music. A bad gig can cause a fan to stop supporting your music. The rise of a better band can cause a fan to stop supporting your music. Fans are not–and cannot–truly be part of your team. Despite the institution that is ―street teams,‖ there will always be a gap — for some indie bands, a blurred line — between fan and friend. You don‗t phone a fan with personal issues. You don‗t invite them to your private birthday gathering. They are not your friend. You maintain a distance, engaging with fans in appropriate forums such as a gig, a meet and greet, or social media. Don‗t treat fans like friends. Not because it disengages them, but because you isolate — and can ultimately, lose — your true friends. You stay true to your fans through your music. It was, after all, how they became your fan in the first place. When you grow distant from your fans;

Clean Up Your Pedalboard

Almost without fail..somebody approaches me after a show and comments on my pedal board. And, I must admit, I am flattered... it serves me well. And no Viagra needed. Through the years as a guitarist in quite a select few bands (because I tend to stick with them to see what might happen -- and am excruciatingly particular on whom I will bleed with), my rig has gone through many emanations. Most notably has been my pursuit of streamlined efficiency of my floor pedals, effects, switching, etc. Here are just a few setups I have used up until now: Early 80's Holmes Overdrive, Aria Chorus, Aria Compressor, D'Armand Wah-Wah, Radio Shack Reverb (Lab Series L-5 4x10 Combo) Mid 80's - Boss DS-1 Distortion, Boss GE-7 EQ, Aria Chorus, Aria Compressor, Dunlop Crybaby Wah (Roland Jazz Chorus 120) Late 80's - Boss DS-1 Distortion, Boss GE-7 EQ, Dunlop Crybaby Wah, Radio Shack Reverb (Marshall Mkll 100watt into a Sunn 4x12 with Fender Speakers) Early 90's- Boss OD-1 Overdrive, MXR Flanger, Boss GE-7 EQ, Dunlop Crybaby Wah (Marshall JCM800 100watt Head into a Sunn 4x12 with Fender Speakers) Mid 90's - Digitech GFX7, Alesis MidiVerb4, Morley PWV Wah/ Volume (Footswitched with ADA Ultrafoot, Digitech Power Stereo Amp into Marshall 4x12 cabinet) Late 90's - Boss OD-2 Overdrive, Boss CH-2 Chorus, Boss BF-2 Flanger, Morley

Wah-SP (Mesa/ Boogie Quad Pre-amp, Mesa/ Boogie Simul-Class 295 Stereo Power Amp into twin Mesa Halfback 4x12 cabs loaded 2- EV x 2- Celestion speakers in each) Early 2000's - Boss OD-2 Overdrive, Boss CH-2 Chorus, Boss BF-2 Flanger, Morley Wah-SP (Mesa/Boogie Triaxis System into a Mesa 2:90 Stereo Power Amp into matching Carvin 4x12 Cabinets loaded with Celestion G12T-75 speakers - Where I first fell in love with them and have used them ever since) Present - TC Electronic Polytune, Boss OD-2 Overdrive, Boss CS-3 Compressor, Dunlop Zakk Wylde Wah, Boss BF-2 Flanger, Boss PH-2 Phaser, Ernie Ball Volume Pedal, MXR Carbon Copy Delay, MXR ZW-38 Stereo Chorus (Into twin highly modified Marshall JCM2000 DSL100 heads that are switched simultaneously via a custom head switcher I had built. The cabs are either matching Marshall 1960 4x12 Cabs or 1936 2x12 Cabs depending on venue. All speakers are Celestion G12T-75) As you can see, over time my pedalboard got a little more sophisticated and demanding of power outlets (laughs). But that is easily remedied with the usage of a Dunlop Powerblock or a Voodoo Labs Pedal Power 2. When running 8 powered pedals on your pedalboard like I do, you need to knock all that power down to one supply, not only for saving wall outlets, but reducing line noise

too - because the electricity coursing through your pedalboard causes noise in your signal path. Sadly. Some players prefer to use batteries only. And if you don't mind taking your pedalboard apart every other night to replace batteries, cool. But, batteries also do not supply a steady stream of electricity to your pedals, yet, in a case of not having access to power outlets...batteries would definitely come in handy...but, I don't know for what, because your amp shouldn't work then either. Kidding aside, another problem with using so many pedals is signal loss when switching pedals on or off. Naturally, whenever you interrupt a natural flow-through of a signal, you will inevitably get a loss. But what I'm going to mention to you is another type of loss...that of "conflicting intent on a pedal" level. That's right... you notice those knobs on all those pedals? Well, some of them color your signal, add saturation to an effect, modulation, pitch, curve, etc. in regards to the specific pedal the knobs are on. But there is most often one knob that is present indiscriminately on most of your pedals...VOLUME. Guess what? Yep, it is a volume of your ENTIRE signal path from the guitar all the way up to the point of the variable volume setting on that pedal. A way you can defeat some of the problem is to not make them fight each other and "tune" them to each other. How do you do that? Easy and simple, even a guitarist can do it... Each pedal that gets turned on in your chain that has a volume knob decreases or increases your signal exponentially...and that ain't good, right? Ahhh...but it is - because it allows you to "tune" your pedals to each other. Plug in your guitar, turn all pedals off, and turn on your amp. Make sure the volume on the guitar is at ZERO. Then go to the very first pedal and turn it on. Did you hear a hiss that is now louder than before? That is because the volume knob on THAT pedal is louder than your line level...turn it down a bit, turn off the pedal and see if the level went down, if so repeat the procedure until you no longer notice a discernable difference of volume. Then move on to the next pedal and repeat. If the volume goes DOWN when you turn a pedal on, you need to RAISE the volume on that pedal. Common sense, I know. The key is to make the on volume match the off volume, unless the pedal is used for a solo boost. Then, set it reasonably louder than your line level...usually +6 DB. You want your pedals to work in harmony with each other, not against YOU. Doing this will not only clean up your signal path a bit, will also improve your TONE, trust me. Not to mention that you will sound more PRO at your next gig by not freaking out the soundman by your line level spiking +16 Db when you turn on your Chorus. Another signal loss prevention is to ditch all those .99 cables in between those pedals. I always use Monster ROCK series patch cables as short as I can get away with. Every extra inch in that signal chain leeches just a little bit more tone and signal, so shorter is always better. So, now that you gone through the article above, and painstakingly worked out your pedalboard issues...sit back, jam a little, and give me a slight nod for helping you clean up your tone, your sound, and your PEDALBOARD!

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The Metal Community Rallies for Chris Holmes Right now, legendary guitarist Chris Holmes needs the rock and metal community to stand behind him. He has been diagnosed with prostate cancer. Chris is currently receiving medical care in France; however, his emergency health insurance only covers the radiation portion of his treatment. Between daily two-hour commutes to the hospital, mounting medical expenses, and insurance restrictions preventing him from leaving France to tour and earn an income, the financial burden continues to grow. A GoFundMe campaign has been created to help ease these overwhelming costs, allowing Chris and his wife, Cathy, to focus fully on his treatment, recovery, and well-being. Fans of Chris Holmes, W.A.S.P., Mean Man, and the worldwide metal community are encouraged to contribute or share the fundraiser. No donation is too small. Every contribution and every share can make a meaningful difference to Chris, Cathy, and the entire Holmes team during this incredibly difficult time. Chris, the rock and metal community is sending you strength, love, and support. We are all wishing you a complete and speedy recovery. Donate or share the fundraiser here: https://gofund.me/59f334781 Stand together. Support Chris Holmes. Help him keep fighting.

For Immediate Release

IK Multimedia Releases TONEX 2.0 Player in Public Beta The biggest evolution of the TONEX ecosystem yet, introducing a completely redesigned workflow,

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August 6, 2026 - IK Multimedia today released a public beta of TONEX 2.0 Player, the biggest evolution of the award-winning TONEX ecosystem since its introduction.

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Up to 220 new Premium V2 Tone Models One connected workflow across the TONEX 2.0 Player and TONEX hardware Public beta available now, with the final release coming as a free update for all TONEX users A Faster, Smarter Available as a public beta for all TONEX users, Workflow TONEX 2.0 Player strengthens every part of the TONEX 2.0 Player introduces a completely redesigned TONEX ecosystem. Faster workflows, deeper Home page that brings gear, signal chain, and library toToneNET integration, an expanded library of up gether into a single streamlined workspace, making it to 220 new Premium V2 Tone Models, and a faster and more intuitive to find, refine, and organize completely redesigned TONEX 2.0 Player extend sounds. A new photorealistic gear experience makes inthe capabilities of TONEX software and hardteracting with amps and pedals feel more natural, while a ware alike, creating a single connected workflow flexible signal chain gives musicians the freedom to from capture to studio, rehearsal, and stage. build and customize complete guitar and bass rigs. Smart Search instantly finds Tone Models, presets, and Unlike standalone modeling software or individcollections, while dedicated, resizable browsers make ual hardware products, TONEX is a complete AIevery type of content easier to explore and organize. powered guitar and bass ecosystem built around Everyday workflow improvements - including resizable one shared library of Tone Models and presets floating windows, multi-monitor support, custom folders, that connects its software, hardware, global Favorites, Recently Used content, and one-click access community, and Premium content. Every major to essential tools - streamline navigation and help musiupdate strengthens the entire platform, expandcians stay focused on making music. ing what musicians can do with the products, One Ecosystem. From Studio to Stage. sounds, and libraries they already own while TONEX 2.0 Player strengthens the entire TONEX ecosysadding lasting value over time. tem by giving guitar and bass players a central place to build, refine, and organize their sounds, no hardware reHighlights quired. Once a TONEX device is connected, presets are TONEX 2.0 Player introduces a completely redeimmediately ready to transfer and use signed Home page The same Tone Models and presets move effortlessly Smart Search to instantly find Tone Models, presets, from capturing gear to studio recording, practicing or and collections rehearsing, and performing live. Capture once. Organize Dedicated, resizable browsers for faster navigation once.Play everywhere. Rather than creating separate Enhanced ToneNET integration for discovering and workflows for software and hardware, TONEX provides one connected ecosystem that follows musicians whermanaging content ever they play.Tone NET,Reimagined TONEX 2.0 Player New photorealistic gear experience with visual signal integrates ToneNET directly into the browsing experi-chain editing

ence, making it easier than ever to audition, download, For more information, organize, and manage Tone Models, presets, and collec- it: www.ikmultimedia.com/tonex tions. More than a file repository, Tone NET brings together official IK content, Signature Collections, Tone Partner releases, Premium Collections, and community-created Tone Models into a single ecosystem, with powerful l discovery and content management tools. More Tones. More Inspiration. TONEX 2.0 introduces up to 220 new Premium V2 Tone Models, expanding the Factory Library with sought-after vintage classics, boutique favorites, modern high-gain sounds, and essential bass gear. Created using the latest advances in IK's AI Machine Modeling™ technology, every V2 Tone Model delivers exceptional accuracy, feel, and dynamic response. TONEX delivers a complete production and performance workflow from authentic capture to finished guitar and bass tones.

please

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For Immediate Release

IK Multimedia Introduces ReSing Doubling Instantly create double-tracked vocals, vocal stacks, and ensemble-style arrangements with lndependent timing, pitch, and stereo control

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performances using expressive AI voice models that preserve the IK Multimedia announces ReSing Doubling, a powerful new add-on emotion, detail, and nuance of the original take. for ReSing that automatically generates realistic double-tracked vocals, 3-voice stacks, and ensemble-style vocal arrangements from Designed for modern studio workflows, ReSing performs all processing locally on the user's computer, with no subscriptions, credit a single vocal performance. systems, upload queues, or an internet connection required during Designed for producers, songwriters, composers, and content crea- production, and supports ARA integration in compatible DAWs, including Pro Tools. tors, Doubling makes it easy to create wider lead vocals, thicker backing parts, and larger ensemble-style vocal arrangements withReSing allows singers to: out having to record multiple takes. A Faster Way to Produce Professional Vocals Creating polished vocal productions often requires recording and editing multiple performances. Traditional double-tracking workflows involve repeated takes, timing adjustments, pitch correction, level balancing, and stereo placement before a mix is ready. With Doubling, ReSing can automatically generate additional vocal performances from a single voice while preserving the character and timing of the original performance. The result is a faster workflow for creating realistic double-tracked vocals, doubles, and stacked vocal arrangements while maintaining creative control over the final sound.

Replace vocal performances with professionally recorded voice models  Transform rough ideas, scratch vocals, and phone recordings into polished production-ready performances  Convert vocals into instrument performances  Create and train custom voice models locally Work directly inside supported DAWs through ARA integration or as a standalone application

All available voice models are ethically sourced from professional performers through transparent agreements that ensure contributors are credited and fairly compenUsers can adjust timing variation, pitch detuning, stereo width, indi- sated. vidual voice levels, and panning to create anything from subtle double-tracked vocals to wide 3-voice stacks and larger ensemble-style productions. From natural double-tracked lead vocals to rich backing vocal ensembles, Doubling provides a fast and flexible way to build bigger productions. What Is ReSing? ReSing for Mac and PC is IK Multimedia's professional AI-powered voice modeling solution for music production. It transforms vocal

Availability & Pricing ReSing Doubling is available now through the IK Multimedia online store and authorized dealers worldwide for $/€39.99.*

ReSing Doubling is available as a separate add-on for all paid versions of ReSing. It is not included with ReSing MAX. For more information on ReSing and ReSing Doubling, Visit: www.ikmultimedia.com/resing

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