Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
General Interest
Cort Guitars Announces the New Space G6MS Headless Multi-Scale Electric Guitar
A modern instrument engineered for ergonomic speed, tonal clarity, and contemporary performance.
Cort Guitars announces the release of the new Space G6MS, a next-generation headless electric guitar designed for players who demand precision, comfort, and modern tonal versatility. Built for speed and accuracy, the Space G6MS combines multi-scale construction, compact ergonomics, and specialized hardware to deliver an instrument refined for punchy low end, slinkier high strings, and reliable performance across all 24 frets.
The body of the Space G6MS is crafted from okoume, chosen for its balanced weight and responsive tonal character, and is finished in either Semi-Gloss Trans Black (SGTK) or Semi-Gloss Turquoise (SGTQ). Its bolt-on neck construction features a rigid five-piece roasted maple and walnut neck topped with a roasted maple fingerboard. The Ergo V neck profile, with a thickness measuring 21 mm at the first fret and 23 mm at the 12th, plus its 12"–15.75" compound radius fretboard provide a fast, controlled feel, further enhanced by stainless-steel tall medium-jumbo frets. Added details include black dot inlays, glow-in-the-dark side dots, a PPS nut measuring 1 21/32" (42 mm), and a 25"–25.5" multi-scale length that improves intonation and a matte finish for a fast feel.
Electronics are centered around a pair of Cort® Voiced Tone VTH77 humbuckers, delivering articulate, high-output tones with tight lows and smooth highs. A straightforward control layout with 1 volume, 1 tone, and a 5-way selector offering a wide range of voicing options suited for modern styles while keeping intuitive on-the-fly access for performing musicians.
The Space G6MS features Cort’s specially designed headless hardware, including a proprietary bridge and tuning system engineered for stability and long-term reliability. More specifications include a two-way adjustable truss rod with spoke-nut and a factory setup with D’Addario® EXL110 strings. Each guitar ships with a gig bag.
For additional product details, images, and availability, please visit NAMM Booth #6810 or online at www.cortguitars.com.
Street Price: $839.99 USD
Masterpiece: Wes Montgomery’s “West Coast Blues”
In August 1960, hot on the heels of releasing his breakthrough record as a bandleader, Wes Montgomery won the New Star guitarist award in DownBeat magazine’s International Jazz Critics Poll. The album, The Incredible Jazz Guitar of Wes Montgomery, set the jazz world on fire, and featured one of the guitarist’s most electrifying approaches to soloing—moving from stunningly swinging single-note lines to breathtaking cascades of his trademark octaves, and culminating in wickedly masterful chordal soloing.
Playing with his thumb instead of a pick—initially, so as not to wake his family and neighbors during his late-night practice sessions—Montgomery’s tone was strikingly smooth and warm, while simultaneously being the epitome of cool.
The album has more than a few standout tracks, but, as DownBeat writer Ira Gitler raved in his 1960 review, “‘West Coast Blues’ will knock you out.” Composed by Montgomery, it is a decidedly non-traditional 12-bar blues, evoking a smoke-filled, late-night jam session. Also unique is its use of 6/4 time. But, fear not, you can think of a bar of 6/4 as simply being two bars of 3/4, with an invisible bar line in between.
Here’s the tune in its entirety. Note how Montgomery keeps his solo (0:58) compelling throughout, all the while building to a dazzling chordal crescendo. You can follow along using the accompanying chord chart.
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Note: You can play all of the examples in this lesson either with a pick, or Wes-style with your thumb, but you’ll notice a snazzy change in tone trying the latter.
Half-Steps Are Hip
For the first four choruses of his solo, Montgomery focuses exclusively on single-note lines. Along the way, he injects new life by conjuring unique twists and turns. Every chorus is vibrant, always keeping us on the edge of our seats.
Let’s begin with Ex. 1 (1:09), in which Montgomery spices things up with some subtle rhythmic detours.
Ex. 1
Coming off of a series of eighth-notes in the solo’s previous bars, notice how adding just a slight hitch, like the tie in the middle of bar 1, can throw us rhythmically off balance for a moment (in a good way). The triplet figure in measure 2 is also pretty cool.
Now, you may have noticed that even though the initial chord is Ebm7 (Eb–Gb–Bb–Db), Montgomery chooses to treat it as if it’s Eb7 (Eb–G–Bb–Db), playing the major third right on beat 1. In jazz (or blues or rock), if you play with confidence, and phrase musically, you can often get away with breaking the rules.
Ex. 2 (1:28) demonstrates Montgomery’s skillful use of über-memorable motifs.
Ex. 2
Here, he establishes a unique rhythmic motif that he repeats, altering his note choices along the way to fit the underlying harmony. This creates a unique moment that immediately distinguishes the second chorus from the first and, again, keeps things moving along nicely.
Also, notice his use of neighbor tones—the note a half-step below any target note, regardless of whether it’s in the key (it often isn’t). This is an extremely hip jazz concept that can make your phrases come alive, as Montgomery’s does here.
He also employs another nifty melodic device, one that is often useful over a dominant chord: playing a min7 arpeggio starting on the chord’s 5. Over the Ab7 (Ab–C–Eb–Gb) in measure 1, Montgomery outlines an Ebm7 arpeggio (Eb–Gb–Bb–Db), the 5 of Ab7. Notice how its first two notes are the 5 and b7 of Ab7. Next comes some magic, as you begin to add the chord’s extensions—color tones that go beyond the b7—here, the 9 (Bb) and 11 (Db). Repeating the idea, he then plays an Fm7 arpeggio (F–Ab-C-Eb) over the Bb7 (Bb–D–F–Ab).
Ex. 3 (1:44) is another example of Montgomery employing an ear-catching motif, this time whipping up a bouncy descending phrase that also happens to include some neighbor tones.
Ex. 3
It’s so musical, yet Montgomery is simply playing the key of Bb’s diatonic arpeggios—those found naturally in the key—each introduced with a quick nod to a neighbor tone. But why does he target an Ebmaj7 arpeggio (Eb–G–Bb–D) to start? Another basic jazz melodic device, used over a minor 7 chord, is to play a major 7 arpeggio starting from its 3. Here, the chord is Cm7 (C-Eb-G-Bb) and its 3 is Eb, so your major 7 arpeggio starts from there; note that it adds D, the chord’s 9, to the conversation. (Conversely, over a major 7 chord, playing a minor 7 arpeggio from its 3 can also be very hip.) Montgomery ends the phrase in style, on a C, the 9 of Bbmaj7.
Octaves, Octaves (and More Octaves)
There are more great moments in the opening choruses, but we must move on to Montgomery’s trademark—his unearthly ability to play complex melodies entirely in octaves. This interval is most often played on two non-adjacent strings, with the unused string in between muted with the inside of your picking-hand index finger.
First, let’s take a quick look at Montgomery doing his octaves thing on tenor sax icon John Coltrane’s “Impressions.”
Ex. 4 (3:09) is a slickly syncopated line—emphasizing the “and” of beats—that climbs straight up a Cm11 arpeggio (C–Eb–G–Bb–D–F). Montgomery then ends the phrase with a bluesy descent of the Bb minor pentatonic scale (Bb–Db–Eb–F–Ab), exhibiting his keen sense for knowing when to just keep things simple.
Ex. 4
In Ex. 5 (3:52), Montgomery introduces an octave motif that he cycles through the chord changes. Notice how he changes it up slightly each time, either rhythmically or melodically, in a musical way.
Ex. 5
A Cavalcade of Chords
The final section of the solo features Montgomery’s thrilling mastery of chord soloing. It could easily be a full lesson in itself; below are just a couple of examples to get you started.
Ex. 6 (4:25) shows Montgomery creatively playing off of the basic chord changes from measures 18 to 20 of the chart.
Notice how he’s not rhythmically tied down to exactly where the chords change on the chart (beats 1 and 4). And he’s using partial chords, most notably omitting the root notes that might be added on an additional lower string in more standard rhythm playing. This makes for lighter-sounding voicings and more economical movement.
Now, even though he’s exclusively playing chords here, Montgomery is still thinking melodically, creating a melody by connecting the highest note of each chord. While an oversimplification, this is one of the most important considerations for choosing the different voicings he plays.
Ex. 7 (5:04) culminates with a brilliant descending phrase that closes out Montgomery’s solo, over the final three measures of the chord chart. Note the two different voicings of Db13 chord in bar 1. The first has the 9 (Eb) in the melody, whereas the second has the 13 (Bb). Having this arsenal of voicings allows him to freely construct flowing melodies. At times, he’s more implying the chords than outright playing them; for example, most of the F7 chords in bar 2 lack both their root (F) and b7 (Eb).Ex. 7
Let’s close out with Montgomery playing yet another of his swingin’ tunes, “Twisted Blues.” And, if you enjoyed this lesson, check out my similar looks at jazz icons Mike Stern and Barney Kessel.
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NUX - MG-50Li Modeler & Profiler and More | NAMM 2026
We stopped by the NUX booth to check out the MG-50Li, their flagship multi-effects processor featuring physical modeling amps and profiling technology, with six footswitches, high-definition LCD, and rechargeable lithium-ion battery (hence, the "Li") providing up to five hours of runtime. Also new: the C-7 Wireless In-Ear Monitor System with unlimited receivers, and the Busking 200FR, a 200-watt battery-powered FRFR speaker that pairs with the MG-50Li for portable gigging.
MG-50Li,
The MG-50Li features our iconic TS/AC-4K Amp Modeling (White-box Physical Modeling algorithm), which is twice as complex as that found in previous versions. This led us to design a new hardware platform with three DSPs: one dedicated to handling all effects, another to running the amp modeling algorithm, and the third to supporting the split amp simulation functionality. Now we’ve even split Amp Modeling into separate preamp and power amp simulations. This means you can select different power tube models to craft unique, creative sounds.
Donner - Rage Breaker & Dream Weaver Pedals | NAMM 2026
Donner's Taylor Hatch shows us two compact pedals developed in partnership with Miyavi—the Rage Breaker, combining overdrive, fuzz, and booster circuits for maximum drive and punch, and the Dream Weaver, featuring atmospheric reverb, precise delay with tone control, and adjustable depth chorus that can run individually or stacked together for layered textures. John Bohlinger gets the scoop.
Bad Cat Amplification - Hot Cat 50 & Purepath Passive Analog Cab Simulator | NAMM 2026
John Bohlinger met up with Bad Cat to check out the Hot Cat 50, featuring a redesigned 50-watt power section with two channels and switchable Lo and Hi gain modes that cover everything from glassy American cleans and Paisley-style country leads to JCM-style crunch and modded high-gain metal tones. The company also previewed the Purepath, a passive load box and direct box launching in early spring that uses a mechanical fan-based load to make amps sound like speaker cabinets through the PA.
Hot Cat 50
The Hot Cat 50 is the latest evolution of Bad Cat’s now-legendary Hot Cat platform. For over 25 years, the Hot Cat has been Bad Cat’s go-to high-gain amp for professional players. This newest version raises the bar with a redesigned 50-watt power section, a more flexible EQ, two seamless channels, and switchable Lo and Hi gain modes.
Mighty Mite | NAMM 2026
We got the full tour of Mighty Mite's new replacement pickups, custom-painted bodies, and reclaimed parts sourced from unrepairable guitars and manufacturer B-stock. The new pickup line includes '60s and '70s Strat sets, P-90s, Tele sets, and bass pickups available as complete sets, plus custom-painted bodies by Brian Nutter and standard replacement bodies in classic finishes or sealed for DIY finishing.
Guitar Parts
Mighty Mite, a name synonymous with guitar customization, began its journey in the early 1970s. Founded by Randy Zacuto, the brand quickly became a go-to for guitar enthusiasts looking to "hot rod" their instruments. During this period, Mighty Mite made its mark by offering high-quality guitar necks and brass replacement parts, catering to musicians who wanted to personalize their guitars' playability and sound.
Magnatone Lil' Viper & Kingston I NAMM 2026
Magnatone's Granville Helm walks us through the Lil' Viper, Slash's 8-watt combo with one 12AX7 and paired NOS 6AQ5 power tubes and a custom 8-inch speaker, featuring high/low gain switching, headphone output, and aux input in Purple Python cosmetics. Also, Larry Cragg shows us the Kingston, a 12-watt workhorse with two 12AX7s and paired 6V6s through a 12-inch speaker, high/low inputs, Accutronics Digi-Log reverb, and line out.
Lil' Viper
The Lil’ Viper is an ultra-portable 8-watt combo designed by Slash and Magnatone Chief Engineer Obeid Khan to deliver the unmistakable Master Collection voice in a remarkably small format. Built to sound full, bold, and authoritative, it is equally at home in the studio, at home, or backstage before a show. Finished in Slash’s signature Purple Python cosmetics with gold-accented hardware and a backlit Magnatone logo, the Lil’ Viper makes a striking visual statement.
In pictures: check out the coolest new guitars from Gibson and Epiphone at NAMM 2026
The NAMM Show 2026 is in full swing, and the big guns have brought some exciting new instruments to the show that will suit players of all styles and budgets.
Gibson might not have a giant booth at the Anaheim Convention Center this year, but that hasn’t stopped the Nashville-based brand from showcasing some intriguing new releases to the show floor – especially in terms of acoustics, where Gibson is celebrating 100 years of the Gibson flat-top acoustic with the brand new Century Collection – an assortment of 12-fret acoustics with matt finishes and a definite Depression-era vibe.
Epiphone fans have plenty to be excited about too, not least with the new Futura collection – a range that brings some of Gibson’s most interesting shapes to the party, with Chromashift colour-changing finishes and features that will appeal to heavier players including stainless steel frets and compound radius fretboards. There’s even an RD model!
Check out some of our highlights from the Gibson launches in the gallery below.
The post In pictures: check out the coolest new guitars from Gibson and Epiphone at NAMM 2026 appeared first on Guitar.com | All Things Guitar.
Black Mountain Asteroid Pick, Capo & Thumb Pick | NAMM 2026
Creative Canadian Cole McBride shows off a trifecta of tone sweeteners that seem simple but improve players' experience with pragmatic changes.
Capo
The world’s first capo with a spring-loaded string padA breakthrough in capo technology!Keeps your guitar in tune and eliminates string buzz.
No more pinched, out-of-tune strings
Easy to use – just clip, fine-adjust and play.
Simple, elegant design to match the beauty of your guitar.
Asteroid Pick
3 tips, 3 sounds, endless fun!Players love the Asteroid pick because it gives them instant access to three different sounds while they play.
The blue pick is flexible and great for strumming.
The red tip is round and produces a full-bodied tone. The black tip is pointed and built for speed.
Thumb Pick
Black Mountain thumb picks feature a patented spring-loaded design for a comfortable, universal fit. They allow guitarists to transition seamlessly between fingerstyle and flatpicking, combining the security of a thumb pick with the feel of a traditional plectrum. Available in various gauges, they are built for versatility and durability.
TV Jones Power'Tron Ultra | NAMM 2026
Tone ranger Tom Jones introduces us to the new Power'Tron Ultra, the TV Jones' boldest and most powerful pickup to date, featuring mismatched coils—one extremely thick and heavy, one standard—that create a wide harmonic spectrum with both thickness and presence. Designed with artists like Scott Holiday and Ronnie Crutcher in mind, the pickup offers impressive versatility through coil-splitting that delivers clarity under gain while retaining aggressive Power'Tron power.
Podcast 534: Philip Weinrobe
The Fretboard Journal’s Sofia Wolfson interviews musician, producer, and recording and mixing engineer Philip Weinrobe. Over the years, Weinrobe has worked with a wide array of artists, including Big Thief, Hand Habits, Adrianne Lenker, Theo Katzman, Marc Ribot, Lake Street Dive, and countless others.
It’s a great chat about Weinrobe’s roots as a recording engineer, his work at Figure 8 and Sugar Mountain studios, and so much more.
https://www.philipweinrobe.com
Above photo: Michael Buishas
Our next Fretboard Summit takes place August 20-22, 2026, at the Old Town School of Folk Music in Chicago. https://fretboardsummit.org
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Fryette - Pittbull Ultra-Lead II and Valvulator Mini | NAMM 2026
Fryette's Steven Fryette introduces us to the Pittbull Ultra-Lead II, a two-rack-space, 25-pound version of his legendary Ultra-Lead that delivers 100 watts with a patent-pending output transformer, allowing players to mix 6550s and EL34s equally. The amp features digitally controlled graphic EQ with per-channel storage, zero-latency IR loading, MIDI switching, and direct USB recording—designed for touring artists like Helmet's Page Hamilton who needed the Ultra-Lead's tone without shipping massive rigs worldwide.
Pittbull Ultra-Lead II
From its introduction in 1995 until its discontinuation in 2017, the Pittbull Ultra-Lead had long been the flagship of the Fryette amplifier line, and customer desire for the Ultra-Lead to bereissued has never waned. Following an intensive three-year development process, the new Pittbull Ultra-Lead II is a fully reimagined touring and recording tone machine, specifically designed to be the centerpiece of your playing and gigging environment.
Valvulator Mini
The Fryette Valvulator Mini is a high voltage vacuum tube–based buffer designed to preserveand enhance your guitar’s tone by converting the signal from high to low impedance. Thisprocess eliminates high-frequency loss and signal degradation caused by cable capacitance,impedance mismatches, and effects pedals. The tube buffer also acts as a tone sweetener,cleaning up and enriching your sound while unveiling subtle harmonics, dynamics and touchsensitivity normally associated with plugging directly into an amp.
Spector Bass | NAMM 2026
We met up with Spector to get the rundown on the new 2026 Doug Wimbish Euro 4 signature bass, a 50th anniversary custom bass with inlay depicting the company's history, the sapphire black sparkle Frank Bello signature NC-4, and a limited run of 50 SB1 basses honoring Stuart Spector's original design with DiMarzio Model One pickups.
Doug Wimbish Euro 4 Signature Model
In 2024, Spector unveiled the Doug Wimbish USA Signature Series which celebrated the impact and legacy of Doug’s iconic Spector instruments. Now, Spector is proud to introduce the newly refined Doug Wimbush Euro 4 Signature Model with specifications taken directly from Doug’s 1987 NS-2. This model has been carefully specified to match the unique properties of Doug’s instrument, including a slim neck carve, narrow nut width, distinct pickup locations, and custom-wound EMG pickups, voiced alongside Doug’s originals.
Infinia Guitars -Titan | NAMM 2026
Infinia's Daan van Dijk introduced us to the Titan, a collaboration with Sheldon Dingwall featuring a fan-fret design. Built one-off in France with multi-laminate necks, hidden magnetic truss rod covers, and choice of two Alnico 5 pickup sets, the guitars offer full customization options, including various tops and finishes.
3rd Power Phantom DRGN and Aurora Series Amplifiers | NAMM 2026
3rd Power's Dylana Scott walked us through the new DRGN lineup, plus the Aurora series, available as the Aurora 35 and Aurora 45 Pro with tube bias tremolo and multi-position bright switch. Scott also showed off the MagFrag pickup line with the exclusive Flux Dragon pickup available only with Dragon amplifier purchases.
Learn More at https://3rdpower.com/
Suhr unveils raft of new signature models for Benji Madden, Pete Thorn and Lady Gaga guitarist Tim Stewart
Suhr may have just seen the departure of social media sensation – and now fully-fledged solo artist – Mateus Asato, but it still has a healthy artist roster, and has just launched new signature models for Good Charlotte’s Benji Madden, Lady Gaga guitarist Tim Stewart and loads more.
Alongside new Madden and Stewart models are new signature guitars for Big Wreck’s Ian Thornley, Pete Thorn, progressive guitarist James Norbert Ivanyi and virtuoso Andy Wood, alongside new additions to the brand’s range of OSO short-scale models.
- READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet
Learn more about the new Signature Series additions at Suhr.
The post Suhr unveils raft of new signature models for Benji Madden, Pete Thorn and Lady Gaga guitarist Tim Stewart appeared first on Guitar.com | All Things Guitar.
Epiphone Unveils The Fatoumata Diawara Epiphone SG
Celebrating Fatoumata Diawara—a GRAMMY®-nominated cultural icon—the new Epiphone Fatoumata Diawara SG blends bold design with artistry and premium functionality, marking a milestone for women and artists of color in music.
Epiphone is proud to announce the Fatoumata Diawara SG™—a signature SG created in close collaboration with the GRAMMY®-nominated Afrofuturist guitarist, singer-songwriter, and actress. As the first woman of color to receive an Epiphone signature guitar, Diawara’s model marks a historic milestone, honoring her extraordinary contributions to music and inspiring future generations of women and artists of color to pursue their creative aspirations. Born of her passion for the Epiphone Muse SG™, the Fatoumata Diawara SG incorporates her personal touches to deliver a player-focused instrument that reflects her aesthetic and performance needs. The Epiphone Fatoumata Diawara SG is available worldwide on Epiphone.com, at the Gibson Garage locations in Nashville and London, and at authorized Epiphone dealers.
“This guitar carries my Malian roots and my voice,” says Fatoumata Diawara. “It connects where I come from to where I’m going. As a Malian woman, receiving this signature guitar reminds me that our stories and our sounds truly belong on the world stage, and I hope it inspires women everywhere.”
Fatoumata Diawara is celebrated worldwide for her distinctive fusion of traditional Wassoulou sounds with modern global influences. She began her career in France as an actress before shifting her focus to music. Over the years, she has collaborated with an impressive roster of artists, including -M-, Angélique Kidjo, Oumou Sangaré, Disclosure, Damon Albarn, Paul McCartney, and Herbie Hancock. Diawara has also appeared in acclaimed films such as Timbuktu and Sia, and The Dream of the Python, continuing to inspire audiences worldwide through her art.
Her passion for the Epiphone Muse SG™ led to a collaboration with Epiphone to create her first signature SG model. The guitar features a mahogany body topped with her signature graphic, a set mahogany neck with a Custom C profile, and a bound rosewood fretboard with 22 medium jumbo frets and pearloid trapezoid inlays. Gold hardware accents include a LockTone™ Tune-O-Matic™ bridge, LockTone Stop Bar tailpiece, and Epiphone locking tuners, paired with a Graph Tech® nut for rock-solid tuning stability. The headstock proudly displays the Epiphone logo and Gibson Crown in mother-of-pearl, along with a two-ply truss rod cover engraved with Fatou’s signature in gold. Coordinated details such as red pickup rings, Speed knobs, rear control covers, and a toggle switch tip add striking visual flair.
Epiphone Fatoumata Diawara SG
Electronics are equally versatile: two Epiphone Alnico Classic PRO™ humbuckers are wired to modern controls, with individual volume knobs that include push/pull coil-splitting for single-coil textures. Two tone controls provide further shaping, and one features a push/pull phase switch to unlock out-of-phase tones when both pickups are engaged, expanding the instrument’s palette for studio and stage. With its bold design, premium appointments, and flexible electronics, the Epiphone Fatoumata Diawara SG is as functional as it is stunning. Each guitar ships in a hardshell case for maximum protection on the road.
Fatoumata Diawara with her new Epiphone SG.
Fatoumata Diawara broke through with Fenfo (2018), receiving two GRAMMY® nominations, one for “Best World Music Album” and another for the single “Ultimatum” with the UK electronic duo Disclosure for “Best Dance Recording.” Born in Côte d’Ivoire in 1982 to Malian parents, she moved to Bamako as a child and grew up in a large family, where resilience and a passion for dance became her lifelines. Film opened the first door: early roles in Taafé Fanga and Cheick Oumar Sissoko’s La Genèse, which was awarded at Cannes in 1999 and led to her acclaimed turn as Sia in Dani Kouyaté’s Sia, le Rêve du Python. As a young woman, she left Mali to avoid a forced marriage and found both refuge and a stage in France—debuting in Antigone at Paris’s Théâtre des Bouffes du Nord and touring worldwide for six years with the renowned Royal de Luxe company.
Paris has left a lasting mark on Diawara’s artistry. Immersed in the city’s cosmopolitan scene and cross-cultural collaborations, she has refined a sound that pairs electronic textures with kora and n’goni, Mandinka rhythms, and her griotic vocal power—sleek, urban, and unmistakably her own. Her debut album Fatou (2011) earned international praise and opened doors to projects with Herbie Hancock, Bobby Womack, Roberto Fonseca, Angie Stone, Yemi Alade, and M.anifest. In 2020, she was nominated for a Victoires de la Musique and Awards d’Afrique Best Female Artist. Fatoumata expanded her Afrofuturist vision on her most recent album release titled London Ko (2023). She continued to push forward on London Ko, co-produced with -M- (Mathieu Chedid) and featuring six tracks with Damon Albarn, complemented by bold visuals from Ethiopian artist Aida Muluneh (whose work has shown at MoMA). Diawara’s next studio album is slated for release later in 2026—catch her on tour in the following cities below and on FATOUMATADIAWARA.COM.
Fatoumata Diawara 2026 Tour:
Fri, APR 10 --Chorus Festival--Boulogne-billancourt, France
Sat, APR 11--Cabaret Botanique - Parc du Thabor--Rennes, France
Thu, APR 23--Sentrum Scene--Oslo, Norway
Fri, APR 24--UKK - Sal D – Ståplats--Uppsala, Sweden
Tue, MAY 5--Espace Culturel Le Champilambart--Vallet, France
Wed, MAY 6--La Sirene--La Rochelle, France
Thu, MAY 7, 2026--Adem Florida--Agen, France
Thu, MAY 21--Theatre de Corbeil-Essonnes - Salle JARRY--Corbeil-essonnes, France
Fri, JUN 12--Festival 2 Rivières--La Ferté-sous-jouarre, France
Sun, JUL 5--Gent Jazz Festival--Gent, Belgium
Mon, JUL 6--Jazz à Vienne 2026--Vienne, France
Thu, JUL 16--Théâtre Antique--Arles, France
Fri, JUL 24--Multi-lieux:Port–Crédit Mutuel, Estuaire, Théâtre de Verdure-Club 360-Saint-Nazaire, FR
Sat, JUL 25--Multi-lieux:Port–Crédit Mutuel, Estuaire, Théâtre de Verdure-Club 360-Saint-Nazaire, FR
Wed, NOV 18—Roundhouse--London, United Kingdom
Sun, NOV 22--Festsaal Kreuzberg--Berlin, Germany
Tue, NOV 24--Ancienne Belgique--Bruxelles, Belgium
Wed, NOV 25--L’Olympia--Paris, France
Fri, NOV 27—Paradiso--Amsterdam, Netherlands
Epiphone Fatoumata Diawara Signature SG Electric Guitar - Ember Red w/ Graphic
Faith Guitars Introduces PJE Legacy FG4 Earth Satin Sunburst Acoustic
Faith Guitars has launched the PJE Legacy FG4 Earth Satin Sunburst acoustic guitar. Handcrafted with a Solid Torrefied Sitka Spruce top and Solid African Mahogany back and sides, the FG4 combines time-honored tonewoods that deliver shimmering treble detail, warm low-end resonance, and a rich, articulate midrange.
Designed in the United Kingdom by master luthier Patrick James Eggle and handcrafted in a single dedicated workshop by a small team of highly skilled craftspeople, the instrument’s top is enhanced through a meticulous torrefaction (roasting) process that improves structural stability while imparting a mature, ‘played-in’ tonal character from the very first strum.
Visually striking, the FG4’s Satin Sunburst finish highlights the natural grain of the torrefied spruce, elegantly framed by Solid Flamed Maple binding for a refined aesthetic. Premium appointments include Indonesian Ebony for the fingerboard, bridge, and pickguard, Grover Deluxe Nickel machine heads with Ebony buttons, and unbleached bone nut and saddle for superior tonal transfer and sustain.
For stage and studio use, Fishman’s Flex-T system delivers a natural, expressive amplified tone. Combining an under saddle piezo with an internal condenser microphone, it allows players to capture every nuance of their performance with remarkable authenticity.
Focusing exclusively on Patrick James Eggle’s historic acoustic body shapes, the PJE Legacy Series represents the pinnacle of Faith’s craftsmanship and tonal artistry. The new FG4 model is the latest to be granted access to Eggle’s revered ‘Earth’ body shape – a true Orchestra Model (OM) design celebrated for its balance of comfort, clarity, and expressive tonal depth.
Faith Guitars’ PJE Legacy FG4 Earth Satin acoustic carries a street price of $1,979.00 / £1,565.00 / €1,831.00. For more information visit faithguitars.com.
Cornerstone Music Gear - Nucleo Reverb | NAMM 2026
We stopped by Cornerstone Music Gear to demo the Nucleo Reverb, a collaboration with Paul Davids featuring three reverb engines (Reactor, Room, Hall) with three voicings each (Normal, Vintage, Lo-Fi), plus dedicated faders for modulation, pitch shifting (AIR), and granular textures (FLUX). The pedal offers 90-second decay, freeze and freeze-pitch modes for holding reverb tails indefinitely, transformer-isolated stereo outputs, USB-C audio interface functionality, and 3 onboard presets plus 128 via MIDI.
NUCLEO
Nucleo Reverb isn’t just another reverb pedal – it’s the key to a universe of sonic landscapes.
With epic 90-second decay, 3 onboard presets (plus 128 via MIDI), freeze and freeze-pitch modes, the Nucleo turns every note into an evolving, cinematic texture.
From granular atmospheres to shimmer reverbs and versatile modulation types, every sound was refined in collaboration with Paul Davids to spark creativity at every step.
Add deep MIDI integration, USB audio, and intuitive controls – and you’ll discover a reverb built to inspire.
PRS Guitars Releases Documentary on Ted McCarty
PRS Guitars today announced a documentary on Paul Reed Smith’s mentor and friend and guitar industry titan the late Theodore “Ted” McCarty and his lasting impact on both Smith and the company.
This touching and informative video features archival interview footage of Ted McCarty himself, and interviews with Paul Reed Smith, McCarty’s daughter Sue Davis, PRS Signature Artist David Grissom, and several PRS Guitars employees. The full-length, 73-minute video is now available on the PRS Guitars YouTube channel. A trailer was released earlier this month.
Ted McCarty served as vice president of the Gibson Guitar Corporation in 1949 and as president from 1950-1966. In addition to the Les Paul and Tune-O-Matic bridge, McCarty was also responsible for several other patents and innovations, including the humbucking pickup (with engineer Seth Lover), Explorer, Flying V, SG, ES 335, and Firebird to name a few. After leaving Gibson in the mid 1960s, McCarty became co-owner of Bigsby.
“Ted McCarty was a legend. Incredibly smart. Really exceptional,” said Paul Reed Smith. “He was a champion, an industry icon, a leader, a mentor, a friend. In the end, he was family.”
Paul Reed Smith first came across McCarty’s name in the US Patent office in the early 1980s, later enrolling him as a manufacturing and business consultant. McCarty died in 2001 at the age of 91, but his contributions continue to ripple through the guitar industry. PRS introduced the first McCarty model in 1994 and has since honored him with many instrument designs. Now, the McCarty family of guitars spans from the SE Series to Core instruments and represents more vintage-appointed PRS guitars.
“There is no better time to reflect on our history than as we close our 40th anniversary,” said PRS Guitars COO Jack Higginbotham. “Ted is a part of our foundation. He’s central to who we are. As we continue to grow the company and evolve and create new instruments, he’s fundamental in our thought processes of building great instruments. Ted will always be a part of the story of PRS Guitars as it goes forward.”
“If you ask anyone who’s an expert over the age of 50, ‘Can you teach me,’ they say ‘Okay, I’ll teach,’ because they don’t want to die and have their gems of knowledge not be passed on. Ted was a prime example of that. He wanted his knowledge base to be passed on, and he decided to pass it on to us (at PRS Guitars), which I loved,” continued Smith.
“I feel so proud that PRS has once again honored my dad – this time through a great video tribute to his life and impact – and I am delighted and honored to have been a part of this project as well. When Paul asked my dad to put his name on a guitar, dad wasn’t so sure anyone would want to buy it. Paul and PRS have made sure that the name Ted McCarty – and the man that he was – will be remembered for a long time to come. And for that, I could not be more thankful,” said McCarty’s daughter, Sue Davis.
McCarty’s significance at PRS didn’t stop with Smith. Through visits to the factory, attending The NAMM Show, a large photo of him in the PRS Guitars factory lobby, and stories passed down through employees, even many of those who never met him say they feel his influence.
“What ties Paul and Ted together for me is the pure joy of teaching. The same joy I imagine Ted felt when he became Paul’s mentor – the joy of being asked about his life’s work – is something I know Paul feels today. The openness we have to ask Paul anything mirrors the way Paul once asked Ted everything. Their relationship went far beyond business; I’ve heard Paul describe Ted as being like a grandfather to him. The honesty and integrity around that relationship and the continued relationship with Ted’s family speaks to what PRS Guitars truly is: a company defined by people, relationships, and shared passion,” said PRS Guitars Director of Marketing, Judy Schaefer.
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