General Interest

Warm Audio, the leading manufacturer of faithful recreations of legendary recording gear and guitar pedals, has announced the release of the Limited Edition Fluff Drive. It’s the company’s first signature pedal created with Ryan “Fluff” Bruce of Riffs, Beards & Gear—one of the most trusted and wildly popular voices in heavy guitar tone and pedal reviews. Warm Audio and Fluff have taken a classic high-gain staple and upgraded it with essential metal-ready mods, turning a fan-favorite circuit into a modern powerhouse.

A signature screaming overdrive dialed in specifically for metal and high-gain guitar, the Fluff Drive takes a legendary ’80s platform and elevates it with amp-driving power, a modded mid-enhance circuit and low-boost control, and a high/low noise gate. After pushing thousands of pedals to their limits, Fluff added critical mods and helped refine this legendary circuit into a stompbox that delivers the aggressive mids, tight punch, and instant clarity that modern rigs demand. The Limited Edition Fluff Drive (MSRP $199 | 219 € inc. VAT | 209 £ inc. VAT)) is available exclusively at Sweetwater in the US and at authorized retailers worldwide.

“I’ve tested a ridiculous number of pedals over the years, so when it came time to do a signature drive, I knew I needed a partner who actually cares about components and understands what makes the legendary circuits legendary. Warm Audio was that perfect partner,” said Ryan “Fluff” Bruce. “They’re obsessed with the details and are circuit-obsessed enough to dig deep into every diode and resistor, but also experienced enough to help me nail the classic sound players expect.”

Fluff continues, “Together with them, I wanted to fix every issue I’ve ever had dialing in metal tones on similar pedals or even the original. Warm worked with me on even the tiniest modification until the pedal did exactly what I always wished those circuits would do. The Fluff Drive is the result: the classic vibe, but with the ideal controls for metal implemented the way I’ve always wanted.”

The Fluff Drive is a signature pedal built from real-world experience, delivering the fast, focused midrange and tight low-end response metal and hardcore players rely on to push amps into controlled chaos. Its upgraded design includes a modded low-boost circuit for down-tuned guitars, baritones, and 7–8 string clarity; a pre/post mid-enhance switch for shaping attack and presence; a high/low/off noise gate for everything from crushing palm-mutes to wide-open leads; and an 18V voltage-boost mode for added headroom and cleaner gain. Premium analog components, including JRC4558 op-amps, discrete transistors, JFETs, and an internal voltage-doubler supply, ensure the pedal slots effortlessly at the front of any high-gain rig, hitting an amp hard and driving power tubes into rich saturation far beyond standard preamp gain. The result is the punch, response, and tonal control Fluff demands in his own setups.

Like all Warm Audio gear, every single Fluff Drive is meticulously hand-tested and inspected by trained technicians with a passion for making music in Austin, TX, and comes with a 5-year warranty. The Limited Edition Fluff Drive is available in two colors: Teal (WA-FLFT) and White (WA-FLFW). Both MSRP $199 | 219 € inc. VAT | 209 £ inc. VAT) are available at launch exclusively at Sweetwater in the US and specific authorized retailers worldwide. For more information, visit www.warmaudio.com/Fluff-Drive.

Orange Amps has unveiled a new vintage-inspired single channel amp head, hailed as the “most versatile” it has ever built.

The OR60 is a UK-built, all-valve 60 watt guitar amp head that is voiced to “take boosts beautifully” and is “designed to go hard”, according to Orange itself. Made with premium components, it’s driven by a pair of 6L6 power valves providing headroom and depth. It’s available to pre-order now directly from Orange, with shipping due to commence in spring.

• READ MORE: NAMM 2026: what to expect from the biggest music trade show in the world

Earning this amp Orange’s ‘most versatile’ status is its ability to tweak its controls and sculpt your own tone for whatever genre you’re looking to tackle. Firstly, the head offers a second footswitchable volume control that provides solo cut-through or rhythm / lead switching without touching the gain, leaving the core tone consistent. A switchable 460V / 335V (60W / 30W) output also allows you to push the amp harder at lower volumes.

Further controls for Presence and Resonance offer customisable fine tuning, allowing players to shape the high and low-end power amp stage to suit any cab or room. There’s also a three position Bright switch, allowing you to sculpt the amp’s top-end voicing without affecting the overall gain character. When engaged, it lifts the treble response to deliver extra clarity and presence. When switched off, the tone becomes warmer and rounder.

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Orange Amps’ OR30 amp head was included in our round up of the best tube amps last year, and was specifically selected as our top choice for the loudest tube head. Guitar.com’s Josh Gardner did the testing for this amp and said it “nearly shook my windows out of their frames” – don’t be fooled by its 30 watt power rating.

The Orange OR60 amp head is available to pre-order now for £2,099.00. Find out more over at Orange Amps.

The post “Designed to go hard”: Orange unveils new vintage-inspired single-channel OR60 amp head appeared first on Guitar.com | All Things Guitar.

Squier has announced a broad refresh of its Sonic Series for 2026, doubling down on what the lines does best: accessible, no-nonsense Fender designs at beginner-friendly prices – and with a few new colourways and configurations thrown in for good measure.

Alongside updates to its full-size Sonic guitars and basses, the brand is also expanding its range of compact instruments with refreshed Mini Stratocaster and Mini Precision Bass models.

• READ MORE: “Our most ergonomic body shape to date”: Eastman unveils the FullerTone Offset, its most player-centric electric yet

The Mini Stratocaster and Mini Precision Bass return with the same formula that’s made them popular entry-level choices: lightweight bodies, maple necks with comfortable “C” profiles, and straightforward hardware.

Credit: Fender

Firstly, the Mini Strat keeps things classic with three single-coil pickups, five-way switching, and a hardtail bridge. 2026 brings new colour options, including California Blue and Sea Foam Green with maple fingerboards, alongside crowd-pleasers like Black, Shell Pink, and Torino Red with laurel ‘boards.

The Mini Precision Bass scales the full-size P Bass down to a 28.6” short scale, pairing a single Squier split-coil pickup with simple volume and tone controls. New for this year is a 2-Colour Sunburst with laurel fingerboard, joining Black and Dakota Red. Prices remain very reasonable, with the Mini Strat at $199.99/£179.99 and the Mini P Bass at $209.99/£189.99.

Elsewhere, the Sonic Series continues to expand into a broad family of Fender silhouettes, all sharing slim “C”-shaped maple necks and lightweight poplar bodies.

The Sonic Stratocaster is offered in several configurations: the classic SSS with tremolo, the hardtail Strat HT for extra tuning stability, and HSS or single-humbucker HT H models for more bridge output. Fresh finishes like Sea Foam Green with maple fingerboard and white pickguard bring a modern twist to the familiar Strat formula. At $249.99/£189.99 across the range, the value is hard to beat.

Credit: Fender

Similarly, the Sonic Telecaster sticks to Leo Fender’s original recipe – featuring dual single-coils, a six-saddle hardtail bridge, and that unmistakable slab-body feel – while adding new colour options like Canary Yellow to the mix. Meanwhile, the Sonic Esquire H pares things back to a single bridge humbucker, offering a minimalist take on Fender’s earliest solid-body guitar in finishes such as Olive, Ultraviolet, and Arctic White.

Offset fans aren’t left out either. The Sonic Mustang returns with its compact 24” scale length, available with dual single-coils or a pair of humbuckers (HH) for players who want more punch. Finish options include Daphne Blue, 2-Colour Sunburst, Torino Red and Flash Pink, while the HH version comes in Black, California Blue, and Flash Pink.

Credit: Fender

On the bass side, the Sonic Precision Bass keeps the classic P Bass layout: a single split-coil pickup, four-saddle hardtail bridge, volume and tone controls, and a 34” scale. Priced at $269.99/£209.99, the bass is available in Black, 2-Colour Sunburst, California Blue and the new Midnight Blue.

Rounding out the 2026 updates is the Sonic Bronco Bass ($259.99/£209.99), a short-scale (30”) option that sits neatly between the Mini P Bass and full-size Precision. Lightweight, simple, and now available in Daphne Blue, it’s an ideal choice for beginners or players moving up from mini instruments.

The instruments will be available from July. View the full collection at Fender.

The post Squier Sonic and Mini models get a 2026 refresh – bringing you new colours, new configurations, at the same beginner-friendly prices appeared first on Guitar.com | All Things Guitar.

In the age of AI and overproduction, leaving a few mistakes in your music is becoming a sign of rebellion that declares a real human was behind its creation. Eddie Van Halen was doing it long ago, even when others around him suggested he should fix any blips.

Van Halen drummer (and Eddie’s brother) Alex has been looking back on how the guitar prodigy would ask for his errors to be left as they were, even when the band were working on their mega-hit Eruption. At the time, engineer Donn Landee wanted Eddie to re-do some of his guitar parts — a suggestion he refused.

• READ MORE: Big Wreck guitarist says no one can replicate Eddie Van Halen’s feel, even if they can play his music note-for-note: “It’s just an innate feel. It sounds like he’s smiling”

In an interview with Modern Drummer Official, Alex explains [via Ultimate Guitar], “There are times when we cringe. We go, ‘Man, we could have fixed that.’ And we should have fixed it. But Ed was very much a purist, if you will.

“Like on Eruption, he made a couple technical mistakes, and Donn wanted to fix it. And Ed goes ‘No, no, leave it,’ which I thought was brilliant, because you never relived that moment. And there were other moments on those records.”

And it seems Eddie wasn’t the only one who was happy to leave a few mishaps in their music: “I’m gonna quote something from Dave [David Lee Roth], which is he called it a ‘wabi sabi’ or something,” Alex continues. “It means the imperfections are what make it what it is. And so we left all the imperfections on the records.”

Eddie might be best known for his soloing, having paved the way for tap and shred culture, but his son Wolfgang Van Halen thinks there are other aspects to his father’s musicianship that were often overlooked.

During an appearance on The Cody Tucker Show, Wolfgang said: “I think everybody looks at him as Mr. Tap and he’s Mr. Shred, but I think that’s just like a flavour to what he did.

“I think it’s the fact that he was such a good songwriter and rhythm guitar player which allowed him to be the shredder guy on top of it. ‘Cause there are plenty of people who are just great shredders and they’re just running through scales and stuff, and that’s not as interesting.”

The post “Ed was very much a purist”: Why Eddie Van Halen didn’t re-do technical mistakes on Eruption appeared first on Guitar.com | All Things Guitar.

ESP has unveiled Joe Duplantier’s first signature guitar, more than a year after announcing the Gojira frontman as a signature artist.

Dubbed the JD-1, the single-pickup LTD offset follows the mysterious custom guitar Duplantier wielded during the band’s performance at the Paris 2024 Olympics Opening Ceremony. The model also marks the guitarist’s first official signature release with ESP, following years as a Charvel signature artist.

• READ MORE: “It looks like someone had a Fender Stratocaster described to them and then built their own version”: From Denmark Street to the TARDIS – Peter Capaldi reveals the story behind Doctor Who’s “junk shop” guitar

Described as a “uniquely modified take on the offset XJ shape”, the JD-1 is built with speed, comfort and precision firmly in mind.

It features a mahogany body paired with a thin U-shaped three-piece roasted maple neck, topped with a Macassar ebony fingerboard with pearloid block inlays and 22 extra-jumbo stainless steel frets. The offset body boasts deeply ergonomic contours, reinforced by bolt-on construction at a 25.5” scale for a clean, unobtrusive heel and a lightning-quick response.

Credit: ESP

Electronics are noticeably stripped back as well. The guitar is powered by a single DiMarzio JD Fortitude passive humbucker (Duplantier’s signature pickup) and is equipped with a Hipshot Tone-a-Matic bridge and tailpiece, a GraphTech TUSQ nut, and LTD locking tuners.

The JD-1’s minimalistic layout extends to its controls, which are kept minimal with just a single volume knob.

Visually, the JD-1 makes a strong statement with its aggressive all-black hardware and scratchplate, coupled with a head-turning Silver Sunburst finish. Each guitar also ships with a deluxe ESP hardshell case.

The ESP LTD JD-1 will be available later this year, priced at $1,799.

Learn more at ESP Guitars.

The post Joe Duplantier’s first ESP signature guitar, the JD-1, makes it debut ahead of NAMM 2026 appeared first on Guitar.com | All Things Guitar.

Eastman has expanded its FullerTone electric guitar lineup with the launch of the new FullerTone Offset, a solid-body model designed with playability, comfort and modern ergonomics in mind.

The new model completes the FullerTone family alongside the existing Single Cut and Double Cut, bringing all three of master luthier Otto D’Ambrosio’s signature body shapes into one unified series.

• READ MORE: NAMM 2026: what to expect from the biggest music trade show in the world

Positioned as Eastman’s most player-centric electric to date, the FullerTone Offset pairs a newly developed offset body with updated hardware, electronics and the company’s proprietary two-bolt neck system – giving it a “player-first design with just the right amount of edge”.

The Offset’s sleek, curvaceous silhouette is also described as the most ergonomic body shape Eastman has produced to date. Developed in close collaboration with guitarist and YouTuber Paul Davids, the design draws directly from real-world playing experience, prioritising balance, comfort and extended playability. Sleek, sculpted contours and a beveled back allow the guitar to sit naturally against the body whether standing or seated, helping to reduce fatigue during longer sessions.

Credit: Eastman

“It was a sheer pleasure working with Paul Davids to gain his player’s perspective on the Offset,” says Eastman’s Director of Fretted Instruments, Pepijn ’t Hart. “While every player has different preferences, his insights and direction helped us create our most ergonomic body shape to date.”

As with the DC and SC models, the Offset features Eastman’s proprietary two-bolt neck design. The long-tenon construction increases neck-to-body contact to enhance resonance and sustain, while allowing precise adjustment. A smooth, unobstructed heel further improves upper-fret access, contributing to a stable and responsive playing feel.

Spec-wise, the FullerTone Offset sports a roasted black limba body, a roasted maple neck and a rosewood fingerboard, alongside a 12” fingerboard radius, 25.5” scale length and a silver anodised aluminium pickguard.

Electronics come courtesy of Tonerider soapbar-sized humbuckers with goldfoil covers, chosen for their warmth, clarity and articulate response, while a Göldo DG tremolo handles vibrato duties, promising smooth operation and stable tuning. Controls include a three-way selector switch.

Credit: Eastman

The FullerTone Offset is available in Dakota Red and Gold finishes. “Our goal was simple: shoot for the stars and build a guitar too good to be true, too good to be put down,” says Eastman.
Priced at $999, the FullerTone Offset will be available this Spring through Eastman Authorised Dealers worldwide.

Learn more at Eastman.

The post “Our most ergonomic body shape to date”: Eastman unveils the FullerTone Offset, its most player-centric electric yet appeared first on Guitar.com | All Things Guitar.

£1,599/$1,999, voxamps.com

Aside from fellow Brit brand Marshall, there is no more iconic guitar amp manufacturer than Vox. The company that became an icon backing up the Beatles and countless artists since has the rare distinction of giving birth to a vernacular. You talk to a guitar player about “the Vox sound” and they invariably know what you’re talking about – jangly, chime-y, clear, and treble-focused – and it’s one of the staple sounds you’ll find on any modelling amp for that exact reason.

• READ MORE: Lazy J x ThorpyFX The J review: “one of the best sounding, most tactile and responsive dirt pedals I’ve ever played”

Despite this almost unparalleled heritage, the Vox brand has endured a turbulent history. It had huge success in 60s, before the company cycled through a variety of owners in the 70s and 80s, ending up as part of Japanese music giant Korg in 1992.

In the last 30 years under Korg’s stewardship, the brand has undergone a period of renewal, innovation and expansion – including the hugely popular Valvetronix modelling amps, and a bunch of hugely popular Asian-made PCB versions of its classic valve amps.

For many players, however, there is nothing quite like an AC amp made using the classic point-to-point techniques that original Vox design genius Dick Denney practised when he was building the amps that powered Lennon, Harrison, May and scores of others to rock stardom. And for that, you need to look at the Hand-Wired range.

Image: Press

Vox AC15 Hand-Wired – what is it?

The Hand-Wired series is designed to replicate the original Vox amps as precisely as possible. They’ve earned a great reputation because of this, and that’s perhaps why they don’t get updated very often: it’s been 15 years since the last refresh.

But when it does tweak things a little, the results are well worth a look and listen – and so I’m checking out the refreshed AC15 here. Why the AC15, when the AC30 is of course the most iconic and beloved of all the Vox amps?

Well, here in 2026, the opportunities for many of us to blast an AC30 as designer Denney almost certainly never intended are few and far between. The AC15 offers a nice middle-ground.

It’s not nearly as back-breakingly heavy as its bigger sibling, nor as impolite in a small gig situation, but it offers a bit more clean headroom at higher volumes than the smallest amp in the Hand-Wired range, the AC10.

So what’s new with the HW this time around? Well, Vox describes these amps as a painstaking recreation of 60s-era British chime, but with modern refinements.

The biggest difference to the previous generation of Hand-Wired amps is the cabinet – fawn tolex–adorned amp of yore, and in its place is a cabinet that’s been meticulously recreated based on its 1963 counterpart.

The changes are not just skin deep either – the 12mm birch ply cabinet is a precise recreation of the 1963 model’s dimensions, and is designed to capture the three-dimensional feel of its vintage predecessor.

You’ll also find an era-correct copper panel on top, and like previous models, the innards are all hand-wired internal, and paired with custom-wound, vintage-aping transformers. Round the back you’ll find a single 12-inch Celestion Alnico Blue speaker (a Greenback version has also just been announced) – it’s a trusty and classic combination.

As is tradition, you’ll find two channels here. The Normal channel delivers a warm, midrange-forward voice, with a Bright switch for added top-end clarity. Then you have the iconic Top Boost channel, which gives you the more aggressive, edge-of-breakup side of the amp. Both of them are now complemented by a new tube-driven spring reverb tank.

Image: Press

Vox AC15 Hand-Wired – sounds

You know what to expect when you plug a Jazzmaster into a Vox amp – or I certainly do anyway – and running into the AC15 Hand-Wired is a familiar but no less grin-inducing experience. That clean jangle that has made so many records come alive is present and correct.

Dialling in a bit of the lovely new valve-spring reverb, and we get all the things you’d hope for from a really good Vox amp. It’s three-dimensional, articulate, and rich with midrange warmth that cuts through a mix.

Switching over to the Top Boost circuit delivers an edge-of-breakup tone that’s dirty yet sonically pleasing to the ear. It offers more grit without ever sounding muddy. But how does it react to full-on drive? Plugging in a new Strymon Fairfax, I can confirm it takes it like a champ.

The response is clear, articulate, and never feels compressed or overly sharp, while the midrange emphasis strikes a great balance between highs and lows without becoming boxy or wooden-sounding.

Arguably, where the AC15 hand-wired excels most is as a pedal platform. It sounds great by itself of course, but is a perfect clean bedrock to your NASA-sized pedalboard.

Running a Deluxe Memory Man–style delay through it is an easy reminder of why the AC15 has long been an auditory staple for players like The Edge. Further experimentation with pedals like the Microcosm by Hologram Electronics or the Lost + Found by Chase Bliss shows that the Celestion Alnico Blue is no slouch when it comes to handling the low-end, near–synth-like frequencies these pedals are more than capable of producing. It never once “flubbed out” in its low-end response.

Image: Press

Vox AC15 Hand-Wired – should I buy one?

So, is the new Hand-Wired a Mega Man X-style upgrade – one that meaningfully improves on the limitations of its predecessor? It’s an invariably subjective thing, but in my mind, you can feel and hear the improvements.

The new hand-wired series represents a bold step forward, offering a faithful recreation of one of the most historically significant amplifiers in rock ’n’ roll history. It delivers the chime, it delivers the dirt, and it noticeably improves upon the shortcomings of its predecessor.

Like most remasters, this isn’t about reinventing the wheel. But for players seeking authentic Vox chime, this is one of the best options you should consider.

Image: Press

Vox AC15 Hand-Wired – alternatives

The iconic nature of the Vox sound means that there are a wealth of rather impressive boutique versions that cost a pretty penny – specifically the Matchless Nighthawk 15 ($3,191/£2,995), Dr. Z Z Wreck Combo ($2,749) , and the Morgan Amps AC20 ($1,699). If you want the vibe without the vintage-style construction, the standard Vox AC15C1 ($999/£679) will certainly get you a lot of the way there. If you want the Vox badge but don’t mind trying a modelling option, the Vox VT100X ($679.99) is another option.

The post Vox AC15 Hand-Wired review – “all the things you’d hope for from a really good Vox amp” appeared first on Guitar.com | All Things Guitar.

Eastman today announced the newest addition to its FullerTone lineup: the FullerTone Offset Solid Body Electric Guitar. Designed by Otto D’Ambrosio, the FullerTone Offset completes the FullerTone family alongside the Single Cut and Double Cut models, bringing all three of D’Ambrosio’s signature body designs together in a unified series focused on playability, tone, and modern design.

The FullerTone Family

With the introduction of the Offset, all three of Otto D’Ambrosio’s signature body designs are now available as part of the FullerTone Series. While each model offers its own visual identity and feel, all share consistent design principles centered on comfort, tonal balance, and refined construction. The FullerTone Offset is available in Dakota Red and Gold colors.

Player-Focused Offset Design

The FullerTone Offset features a newly developed body shape that emphasizes comfort and balance. Its sleek, curvaceous silhouette is the most ergonomic Eastman electric guitar body to date and was shaped through close collaboration with guitarist and educator Paul Davids. Drawing on Davids’ hands-on experience as a professional player, the design prioritizes real-world comfort and extended playability. Sculpted contours and a beveled back allow the guitar to sit comfortably against the body whether standing or seated, helping to reduce fatigue during longer playing sessions while maintaining a familiar, modern feel.

“It was a sheer pleasure working with Paul Davids to gain his player’s perspective on the Offset,” said Pepijn ’t Hart, Eastman’s Director of Fretted Instruments. “While every player has different preferences, his insights and direction helped us create our most ergonomic body shape to date.”

Electronics and Hardware

The FullerTone Offset is equipped with Tonerider soapbar-sized, goldfoil-covered humbuckers, selected for their warmth, clarity, and articulate response. A Göldo DG Tremolo provides smooth vibrato performance with dependable tuning stability, supporting a wide range of expressive playing styles.

“Not just another asymmetrical shape, the new FullerTone Offset embodies an ‘off-the-beaten-path’ sensibility that reflects your unique relationship to music,” said Otto D’Ambrosio, Eastman’s Chief Guitar Designer. “Inspired by the sounds of alt-rock pioneers, these modern-day classics simplify and amplify your musical expression in a sea of symmetry.”

FullerTone Two-Bolt Neck System

At the core of the instrument is Eastman’s proprietary FullerTone two-bolt neck system. This long-tenon design increases neck-to-body contact to enhance resonance and sustain while allowing precise adjustment. The system also features a smooth, unobstructed heel, providing improved upper-fret access and a stable, responsive playing feel.

Availability

The FullerTone Offset will be available in the Spring through Eastman Authorized Dealers worldwide.

For more information and pricing, visit www.eastmanguitars.com

Kepma Guitars proudly announces the F2S Lamplight, a Grand Auditorium acoustic-electric guitar that blends visual artistry, advanced tonewood engineering, and cutting-edge performance technology into a single, inspiring instrument. Designed for players who value both sound and storytelling, the F2S delivers refined craftsmanship, modern playability, and creative freedom for stage, studio, and home use.

Uncompromising Craftsmanship

The F2S Lamplight features a Grand Auditorium body shape paired with a solid torrefied Sitka spruce top and torrefied Sitka spruce bracing, delivering enhanced resonance, stability, and a mature, played-in tone from day one. Kepma’s proprietary torrefication process removes excess moisture and organic compounds from the wood, improving strength, tonal response and long-term consistency across varying environments.

Back and sides are constructed from Ovangkol laminate, finished in high-gloss for visual depth and tonal balance, while the gloss-finished top enhances projection and articulation. A solid rosewood bridge and natural bone saddle ensure optimal string energy transfer and sustain.

The mahogany neck is reinforced with two carbon fiber rods and a two-way adjustable truss rod, offering exceptional strength, stability, and long-term reliability. A 2mm-thick engineered ebony fingerboard with a glossy finish provides a smooth, precise playing surface, while PLEK®-optimized playability ensures accurate fretwork and effortless action right out of the case.

Distinctive Design and Premium Appointments

The F2S stands apart visually with refined, story-driven aesthetics and premium details throughout:

• Lamplight solid wood inlay crafted from African Padauk and Boxwood, creating a striking and symbolic visual centerpiece of captivating windows sparking curiosity
• Natural mother-of-pearl accents for an elegant, high-end appearance
• Ivory white one-piece molded ABS binding for durability, comfort, and clean lines
• Rosewood-grain pickguard that complements the guitar’s organic design
• 1:18 fully sealed chrome tuners for smooth, accurate tuning stability
• Angled nut slots and natural bone nut (25.5” / 647.25 mm scale length) for improved string alignment and tuning precision
• Matte-finished neck for a fast, comfortable feel
• Strap buttons included for immediate stage readiness

Bolt-On Innovation

The F2S incorporates Kepma’s bolt-on neck-body detachable technology, allowing for enhanced structural stability, easier servicing, and consistent neck alignment over time - a feature typically reserved for far higher price points.

L1 Smart Loop AcoustiFex® Pickup System

At the heart of the F2S Lamplight is Kepma’s L1 Smart Loop AcoustiFex Pickup System, a revolutionary system designed to expand creative possibilities:

• Professional Acoustic-Electric Performance The L1 functions as a high-quality pickup system, delivering natural, dynamic tone suitable for live performance, studio recording, and rehearsal.
• AcoustiFex Technology Using Kepma’s proprietary AcoustiFex technology, players can enjoy immersive effects such as reverb, delay and chorus without plugging into an amplifier, preserving the pure acoustic experience while adding depth and atmosphere.
• Built-In Loop Functionality The integrated loop feature allows players to record and layer their own accompaniment directly through the guitar, opening the door to songwriting, solo performance, and creative exploration.

Whether played unplugged or amplified with enhanced onboard effects, the L1 Smart Loop system transforms the F2S into a complete creative platform.

Strings, Protection, and Accessories

The F2S comes factory-equipped with Elixir® Nanoweb .13 - .52 coated strings, ensuring long-lasting tone and consistent feel, and includes an original Kepma gig bag for protection and portability.

Model and Availability

• F2S Lamplight Grand Auditorium acoustic-electric guitar featuring a solid torrefied Sitka spruce top, torrefied bracing, Ovangkol laminate back and sides, L1 Smart Loop Acoustic Exciter Pickup System, Plek® setup and premium Padauk and Boxwood inlays.

The FS2 Lamplight Grand Auditorium will be shipping in the U.S. in June of 2026. Pricing of the F2S with L1 pickup is $1399.99 MAP, and $1199.99 MAP without the L1 pickup.

For more information on Kepma USA products or to find a retail partner near you, visit kepmausa.com. Follow KepmaUSAOfficial on Facebook and Instagram.

New for 2026, Ibanez has put their stamp on a definitive bass design with their new Mode series. Engineered to bridge the gap between traditional sounds and modern playability, the Mode Series offers a re-envisioned take on a style of bass that is essential to countless players and genres.

The new series comprises eight different models, all built upon a foundation of cutting-edge features and ergonomic design. Key among these is an ultra-modern, contoured body made of Alder or Ash that is specifically designed to accommodate the instrument's 24-fret neck; depending on the model, it features either a transparent finish over a Poplar Burl top or Ash body or a solid white finish on the MDM1000 series. The electronics package, including the pickups, was developed specifically for this new lineup. The Delta pickups are a split-coil design that provides the traditional brightness and cut of J-style pickups while offering full hum-canceling operation. Pairing them with the Sonictech S Preamp delivers incredible tonal versatility with a three-band EQ, master tone control, and the propriety Hexa-Mid system that offers six district bands of mid-range. The neck is crafted from Roasted Maple paired with a Rosewood or Roasted Maple fretboard, featuring a comfortable slim C profile that strikes the perfect balance between traditional feel and modern speed.

Other notable appointments include a passive tone knob with a push/pull active/passive switch for maximum tonal versatility, the MR5S Monorail Bridge for superior string isolation, luminescent side dots for stage visibility, and Ibanez’s new Aero-light Tuners.

Features

MDM1000

• MDM4 Roasted Maple neck
• Alder body
• Rosewood fretboard w/White dot inlay
• Medium Stainless Steel frets
• Delta S4J neck pickup
• Delta S4J bridge pickup
• Ibanez Sonitech S Preamp 3-band EQ
• EQ bypass switch (push/pull)
• 3-way Mid frequency switch w/Hexa Mid system
• MR5S bridge (19mm string spacing)
• Black hardware
• Ibanez Aero-light machine heads
• Luminescent side dot inlays
• Gig bag included
• Recommended case: MRB350C/MAP: $259.99
• Finishes: Midnight Ocean Arctic Matte, Pearl White

LIST PRICE: $1,653.32

ESTIMATED STREET PRICE: $1,199.99

MDM1005

• MDM5 Roasted Maple neck
• Alder body
• Rosewood fretboard w/White dot inlay
• Medium Stainless Steel frets
• Delta S5J neck pickup
• Delta S5J bridge pickup
• Ibanez Sonitech S Preamp 3-band EQ
• EQ bypass switch (push/pull)
• 3-way Mid frequency switch w/Hexa Mid system
• MR5S bridge (18mm string spacing)
• Black hardware
• Ibanez Aero-light machine heads
• Luminescent side dot inlays
• Gig bag included
• Recommended case: MRB350C/MAP: $259.99
• Finishes: Midnight Ocean Arctic Matte, Pearl White

LIST PRICE: $1,791.10

ESTIMATED STREET PRICE: $1,299.99

MDM1006

• MDM6 Roasted Maple neck
• Alder body
• Rosewood fretboard w/White dot inlay
• Medium Stainless Steel frets
• Delta S6J neck pickup
• Delta S6J bridge pickup
• Ibanez Sonitech S Preamp 3-band EQ
• EQ bypass switch (push/pull)
• 3-way Mid frequency switch w/Hexa Mid system
• MR5S bridge (18mm string spacing)
• Black hardware
• Ibanez Aero-light machine heads
• Luminescent side dot inlays
• Gig bag included
• Recommended case: MRB350C/MAP: $259.99
• Finish: Pearl White

LIST PRICE: $1,928.88

ESTIMATED STREET PRICE: $1,399.99

MDM1300

• MDM4 Roasted Maple neck
• Ash body
• Roasted Maple fretboard w/Black dot inlay
• Medium Stainless Steel frets
• Delta S4J neck pickup
• Delta S4J bridge pickup
• Ibanez Sonitech S Preamp 3-band EQ
• EQ bypass switch (push/pull)
• 3-way Mid frequency switch w/Hexa Mid system
• MR5S bridge (19mm string spacing)
• Black hardware
• Ibanez Aero-light machine heads
• Luminescent side dot inlays
• Gig bag included
• Recommended case: MRB350C/MAP: $259.99
• Finish: Natural Stained Amber Burst

LIST PRICE: $1,791.10

ESTIMATED STREET PRICE: $1,299.99

MDM1305

• MDM5 Roasted Maple neck
• Ash body
• Roasted Maple fretboard w/Black dot inlay
• Medium Stainless Steel frets
• Delta S5J neck pickup
• Delta S5J bridge pickup
• Ibanez Sonitech S Preamp 3-band EQ
• EQ bypass switch (push/pull)
• 3-way Mid frequency switch w/Hexa Mid system
• MR5S bridge (18mm string spacing)
• Black hardware
• Ibanez Aero-light machine heads
• Luminescent side dot inlays
• Gig bag included
• Recommended case: MRB350C/MAP: $259.99
• Finish: Natural Stained Amber Burst

LIST PRICE: $1,928.88

ESTIMATED STREET PRICE: $1,399.99

MDM1600

• MDM4 Roasted Maple neck
• Poplar Burl top/Alder body
• Rosewood fretboard w/White dot inlay
• Medium Stainless Steel frets
• Delta S4J neck pickup
• Delta S4J bridge pickup
• Ibanez Sonitech S Preamp 3-band EQ
• EQ bypass switch (push/pull)
• 3-way Mid frequency switch w/Hexa Mid system
• MR5S bridge (19mm string spacing)
• Black hardware
• Ibanez Aero-light machine heads
• Luminescent side dot inlays
• Gig bag included
• Recommended case: MRB350C/MAP: $259.99
• Finish: Natural Mocha Low Gloss, Cosmic Blue Starburst Low Gloss

LIST PRICE: $1,928.88

ESTIMATED STREET PRICE: $1,399.99

MDM1605

• MDM5 Roasted Maple neck
• Poplar Burl top/Alder body
• Rosewood fretboard w/White dot inlay
• Medium Stainless Steel frets
• Delta S5J neck pickup
• Delta S5J bridge pickup
• Ibanez Sonitech S Preamp 3-band EQ
• EQ bypass switch (push/pull)
• 3-way Mid frequency switch w/Hexa Mid system
• MR5S bridge (18mm string spacing)
• Black hardware
• Ibanez Aero-light machine heads
• Luminescent side dot inlays
• Gig bag included
• Recommended case: MRB350C/MAP: $259.99
• Finish: Natural Mocha Low Gloss, Deep Twilight

LIST PRICE: $2,066.65

ESTIMATED STREET PRICE: $1,499.99

MDM1606

• MDM6 Roasted Maple neck
• Poplar Burl top/Alder body
• Rosewood fretboard w/White dot inlay
• Medium Stainless Steel frets
• Delta S6J neck pickup
• Delta S6J bridge pickup
• Ibanez Sonitech S Preamp 3-band EQ
• EQ bypass switch (push/pull)
• 3-way Mid frequency switch w/Hexa Mid system
• MR5S bridge (18mm string spacing)
• Black hardware
• Ibanez Aero-light machine heads
• Luminescent side dot inlay
• Gig bag included
• Recommended case: MRB350C/MAP: $259.99
• Finish: Natural Mocha Low Gloss

LIST PRICE: $2,204.43

ESTIMATED STREET PRICE: $1,599.99

For more information visit Ibanez.com.

Just as the original SansAmp was a personal mission to encapsulate tube amplifier sounds in a compact, portable pedal, inventor Andrew Barta has long been on a quest to do the same in the digital domain. Never one to jump on a bandwagon, Barta wouldn’t “go digital” until he found a way to replicate the dynamics, responsiveness and fluidity of its analog counterpart.

The SansAmp Programmable Bass Driver ELITE has two modes: Performance mode to have your 3 main presets at the ready and Studio mode for up to 128 locations for custom presets. Controls include Drive, Presence, Blend, Compressor, 3-band active EQ, and Level.

There’s an additional “Red” mode that switches the functionality of the controls to include Preamp, Filter, Frequency, Q, Ambiance, Ratio and Chorus. It can also activate pre-programmed Chorus and/or Filter effects.

The MIDI interface enables deep editing of parameters for amplifiers, blendable IRs, effects and EQ. The IR section includes a SansAmp IR, a curated collection of modifiable IRs, the ability to custom blend them, as well as upload your favorite external IRs. Clear, uncomplicated graphics, and intuitive controls provide ease of use to achieve your desired tones.

Other features include a chromatic tuner, effect loop, 1/4-inch and XLR Outputs, and rugged all-metal housing. Utilizes included 9V DC auto-switching power supply with interchangeable international plugs for use anywhere in the world. Measures 7.5”l x 5.25”w x 2.0”h.

The Geddy Lee Amalgamation Signature Chorus, as one would expect, is specifically tailored for bass. And specifically, with Geddy's valuable input.

Housed in a compact pedal, the Geddy Lee Amalgamation offers an unusual amount of flexibility to achieve a variety of choral effects. It is capable of recreating the kinds of choral tones typically attainable only in a pro studio.

With its Detune control, you can adjust the pitch of the choral voicing, adding sonic girth to create thick, lush, bass-compatible chorus. Engaging Deviate mode alters the Detune function and adds an additional voicing for even more depth --as if 3 people are playing at the same time.

Other features include Speed and Depth controls to adjust the modulation, from sober to slightly tipsy to downright "wobbly." Operable with 9V alkaline battery (not included) or optional DC power supply.

Connecting the worlds of pedals and plugins together with ease is the new Electro-Harmonix Effects Interface Hardware Plugin. Bringing universality to their Hardware Plugin concept, the Effects Interface allows the user to turn pedals into a plugin, or plugins into a pedal, while also being equipped as a 2-in/2-out interface. This pedal makes it easy to incorporate a whole pedalboard into your DAW session or incorporate plugins into your live setup for a completely hybrid rig with out the need for any additional converters or specialty equipment.

The Effects Interface operates in three distinct modes: Hardware Plugin Mode, Pedalboard Mode, and Interface Mode.

• Hardware Plugin Mode – Connect pedals to the Effects Interface’s loop and open the plugin in your DAW. Audio from your track will run through the pedals in the loop. Add your favorite pedal to single tracks or full bus mixes.
• Pedalboard Mode – Run input signal through plugins in your DAW and back out to your pedalboard or an amp through the Effects Interface. Place a plugin effect into your physical signal chain. Also useful for simple guitar re-amping.

This pedal-plugin pandora’s box ships with standard EHX 9 Volt power supply and USB-C cable, is available now and has a U.S. Street Price of $359.

VOX announces the global debut of the AC30 Hand-Wired Amplifier Head and the matching V212 Hand-Wired Cabinet, two meticulously crafted additions to the company’s legendary AC Series. Engineered for serious players, recording engineers, and tone enthusiasts, these new models revive the spirit of the 1960s AC30 while delivering the reliability, flexibility, and performance demanded on modern stages and in contemporary studios. By faithfully reconstructing the original design, employing hand-wired circuitry, custom transformers, tube-driven spring reverb, and vintage-accurate cabinet construction, VOX has created a head-and-cabinet pairing that brings timeless tone squarely into the present day.

Few amplifiers have shaped music history like the VOX AC30, and the new AC30 Hand-Wired Head has been developed to honor that legacy with extraordinary attention to musical feel and authenticity. Designed as a complete reconstruction rather than a simple reissue, it features hand-wired circuitry and custom transformers, supported by modern refinements including a master volume that can be fully removed from the circuit when engaged at maximum setting, a transparent and fully bypass-able FET-buffered effects loop, and a custom-voiced spring reverb driven through a dedicated tube stage. Every element has been engineered to ensure that the unmistakable sound of a true vintage VOX experience is delivered with consistency and reliability.

Central to the amplifier’s sonic character is its 30-watt EL84 power section, supported by a GZ34 rectifier and a carefully developed power circuit designed to recreate the distinctive voltage “sag” that influences dynamics, sustain, and playing feel. The amp retains the expressive phase inverter behavior that contributes to the AC30’s complex harmonic response when pushed, offering the touch sensitivity, openness, and natural compression associated with sought-after early-1960s examples. A custom-wound output transformer further shapes the amp’s dimensional tonality, delivering bell-like highs, defined midrange character, and the layered harmonic bloom that players associate with classic VOX heritage, while keeping modern noise performance and stability.

The AC30 Hand-Wired Head offers two defining VOX channels. The Normal channel delivers warm, articulate tone with the choice of adding extra brilliance via a Bright switch, making it equally suitable for single-coil or humbucking pickups. The Top Boost channel provides the chime, clarity, and dynamic drive that has defined generations of British rock, with independent Treble, Bass, and Volume controls enabling precise tonal shaping from shimmering cleans to expressive vintage crunch. Supporting features include tube-driven reverb with Level and Tone control, footswitchable bypass, and versatile speaker outputs with compatibility for both 8- and 16-ohm cabinets. Measuring 27.76 by 10.35 by 11.89 inches and weighing 43.43 pounds, the amplifier is built with premium tubes including four ECC83/12AX7 preamp tubes, one ECC81/12AT7, four EL84 power tubes, and a GZ34 rectifier. The head ships with power cable, owner’s manual, VFS1 footswitch, and speaker cable.

Developed to be the ideal partner for the amplifier, the V212HWRX Hand-Wired Cabinet has been precision-designed to reproduce authentic VOX tone with authority, depth, and musical resonance. Far from being merely a housing for speakers, the cabinet construction itself was engineered through detailed study of original 1960s AC30 designs. Built from 12mm birch ply to match vintage specifications, it delivers an open, three-dimensional response that enhances clarity while keeping warmth and body. Inside, a pair of 12-inch Celestion Alnico Blue speakers provides the unmistakable sonic signature long associated with VOX amplifiers, featuring brilliant top end, smooth overdrive character, and rich harmonic response that complements the AC30 Hand-Wired Head perfectly.

Visually, both products pay tribute to VOX heritage. The amplifier features period-inspired styling elements such as copper control panel, brass vent accents, and traditional VOX branding, while the V212HWRX cabinet showcases diamond-pattern grill cloth and classic VOX identity. The cabinet measures 27.36 by 10.31 by 22.32 inches, weighs 40.79 pounds, and is rated for 30 watts RMS into 16 ohms. Together, the AC30 Hand-Wired Head and V212HWRX cabinet deliver not only tone and performance but an authentic connection to VOX’s iconic legacy.

With these releases, VOX offers players, collectors, vintage enthusiasts, and working professionals a faithful yet forward-thinking path to true AC-series tone in a flexible head-and-cabinet format.

For additional details, specifications, and availability information, please visit NAMM Booth #6802 or online at www.voxamps.com.

Street Price:

AC30 Hand-Wired Head $1999.99 USD

AC V212 Hand-Wired Cabinet $1499.99 USD

C. F. Martin & Co.® today announced four new instruments debuting ahead of The 2026 NAMM Show: the Super D-18, Super HD-28, Martin O’ahu K-42 Hibiscus, and Custom Shop M Paisley Ember Burst. Following the recent launch of the refreshed Road Series, these additions mark another significant step forward for Martin in 2026, with one more major announcement planned during NAMM.

Super D-18 & Super HD-28

The Super D-18 and Super HD-28 build on the success of the Custom Shop Super D, Martin’s largest and most powerful body shape. With approximately 20% more internal air volume than a standard Dreadnought, the Super D delivers deeper bass, greater projection, and an extended dynamic range—while keeping the iconic silhouette intact. Acoustic testing showed gains of up to 12dB, offering more volume with less effort.

For 2026, Martin brings this groundbreaking body shape into the Standard Series for the first time, offering players Super D performance paired with classic 18- and 28-style appointments, with the Super D-18 (above) featuring solid spruce and genuine mahogany and the Super HD-28 (below) pairing solid spruce with East Indian rosewood—both powered by forward-shifted Golden Era scalloped X-bracing for exceptional responsiveness and tone.

Martin O’ahu K-42 Hibiscus

The K-42 Hibiscus expands the Martin O’ahu line with a design that reimagines the historic Kealakai-inspired body. A 12-fret body paired with a 14-fret neck—an unprecedented combination for Martin—shifts the bridge for added focus and projection. Broad-flamed koa back and sides, a reclaimed spruce top with a dark toasted burst, Style 42 appointments, Madagascar rosewood binding, and hibiscus fingerboard inlays make it visually striking and sonically rich. Limited to 100 instruments, it offers a blend of heritage, rarity, and modern craftsmanship.

Custom Shop M Paisley Ember Burst 

Designed by Martin President and CEO Thomas Ripsam, the Custom Shop M Paisley Ember Burst features a custom Engelmann spruce top with a “Martin paisley” pattern incorporating historic snowflake and diamond motifs. Quilted maple back and sides and an Ember Burst finish create a unified, premium aesthetic. Forward-shifted Golden Era scalloped bracing produces clear, articulate tone, while flamed maple binding, abalone inlays, Waverly gold tuners, L.R. Baggs® Anthem™ electronics, and a hand-signed label elevate this one-year limited model for players and collectors.

A Strong Start to 2026 

Following the recent launch of the refreshed Road Series, the debut of these four new instruments continues Martin’s strong start to 2026 and sets the stage for a standout showing at this year’s NAMM Show.

For more information, visit martinguitar.com.

Taylor Guitars has announced its most ambitious tonal expansion to date with two key launches: a Next Generation evolution of its flagship Grand Auditorium guitars and the growth of its heritage-inspired Gold Label Collection to include a trio of deeper-bodied square-shoulder dreadnoughts. This dual launch underscores Taylor's commitment to offer players the industry's widest spectrum of acoustic tonal possibilities, from cutting-edge modern acoustic performance to time-honored traditional tonal character.

“As guitar makers, we see the ever-wider variety of players and styles,” said Andy Powers, Taylor’s Chief Guitar Designer and CEO. “This means different types of sounds, feels and aesthetic presentations—all in step with the creative world of today’s players.”

​EVOLVING A MODERN FLAGSHIP: Next Generation GRAND AUDITORIUMS

For more than 30 years, the cutaway Grand Auditorium body style has defined the Taylor brand—comfortable, musically versatile, and equally at home in living rooms, pro studios, and on big stages. Yet in keeping with Taylor’s ethos of continuous improvement, Andy Powers has continued to bring voicing enhancements to Taylor's most popular body style. The latest refinements arrive as a potent trio of performance-enhancing, “Next-Generation” innovations that fundamentally transform the feel, sound, and live performance utility, all while retaining the core identity that players love. Debuting in Taylor’s best-selling 300, 400 and 800 Series, including both Standard and Builder's Edition models, the Next Generation Grand Auditoriums combine Taylor’s patented Action Control Neck, a new scalloped variant of Andy’s V-Class bracing, and all-new Claria System electronics—with all three design breakthroughs working in harmony to inspire players by offering a richer, more expressive musical experience.

ACTION CONTROL NECKTM — The patented Action Control Neck features a long-tenon joint extending deeper into the guitar body for dramatically enhanced sustain, warmth, and resonance, while allowing instant, precise string height adjustments directly through the soundhole—with no string or neck removal required.

SCALLOPED V-CLASSTM BRACING — Working in harmony with the neck, a new scalloped V-Class bracing pattern lightens key brace zones for increased top movement and responsiveness, delivering the warmth and richness players crave with enhanced low-end response while preserving V-Class's renowned pitch accuracy, projection and sustain.

CLARIATM PICKUP SYSTEM — Finally, Taylor’s all-new Claria System electronics revolutionize amplified performance with an improved under-saddle piezo pickup paired with a proprietary onboard preamp that eliminates traditional piezo harshness. Discrete soundhole-mounted Volume, Mid-Contour, and Tone controls enable a wide range of tone-shaping—players will find it easy to quickly dial in their preferred sound in any type of performance venue, offering remarkable plug-and-play utility.

Next Generation Grand Auditoriums start at $2,499 and include:

• 314ce
• 414ce
• 814ce
• Builder’s Edition 324ce
• BE 814ce Indian Rosewood/Adirondack Spruce
• 324ce
• 454ce*
• 854ce*
• BE 814ce Honduran Rosewood Rosewood/Sinker Spruce
• BE 814ce Indian Rosewood/ Adirondack Spruce Blacktop
  

*These 12-string models feature standard V-Class bracing.

GOLD LABEL GROWTH: SQUARE-SHOULDER DREADS + NEW 900 SERIES MODELS

One year after its debut, Taylor’s Gold Label Collection, which draws inspiration from past eras of traditional, non-cutaway guitars, welcomes another body style to the family: a square-shoulder dreadnought with a deeper body that creates an acoustic powerhouse with pronounced warmth and projection. The new dreadnought models include three tonewood pairings: the mahogany/torrefied Sitka spruce Gold Label 510e, the Indian rosewood/torrefied Sitka spruce Gold Label 710e, and the Honduran rosewood/torrefied Sitka spruce Gold Label 810e. (One other dreadnought that sits alongside these models is the Trey Hensley Gold Label 510e, introduced in Q4 of 2025.)

The new Gold Label Collection guitars start at $2,799 and include:

• Gold Label 510e
• Gold Label 710e
• Gold Label 810e

Additionally, a pair of new Gold Label models debut at Taylor’s 900 Series level, featuring an ultra-premium blend of materials and aesthetic refinements. Models include two body styles: the Super Auditorium Gold Label 914e and Grand Pacific 917e. Both pair Honduran rosewood with Adirondack spruce and feature exquisite paua-shell trim along the top, fretboard and headstock, in natural or golden-brown sunburst finishes. All Gold Label models feature the collection's signature innovations: Fanned V-Class Bracing, the Action Control Neck, and heritage-inspired aesthetics.

“It’s like players are stepping into a different musical skin with our Gold Label guitars,” says Powers. “Songwriters, bluegrass players, Americana players, rhythm players, weekend strummers, worship leaders, all kinds of different players saying, ‘Wow, I love this sound. This is a whole different face of Taylor.’”

The Next Generation Grand Auditoriums and expanded Gold Label Collection models are available now at authorized Taylor dealers worldwide. For more information, visit TaylorGuitars.com. Follow Taylor Guitars on Instagram, Facebook, YouTube and TikTok.

Taylor Guitars has announced its most ambitious tonal expansion to date with two key launches: a Next Generation evolution of its flagship Grand Auditorium guitars and the growth of its heritage-inspired Gold Label Collection to include a trio of deeper-bodied square-shoulder dreadnoughts. This dual launch underscores Taylor's commitment to offer players the industry's widest spectrum of acoustic tonal possibilities, from cutting-edge modern acoustic performance to time-honored traditional tonal character.

“As guitar makers, we see the ever-wider variety of players and styles,” said Andy Powers, Taylor’s Chief Guitar Designer and CEO. “This means different types of sounds, feels and aesthetic presentations—all in step with the creative world of today’s players.”

​EVOLVING A MODERN FLAGSHIP: Next Generation GRAND AUDITORIUMS

For more than 30 years, the cutaway Grand Auditorium body style has defined the Taylor brand—comfortable, musically versatile, and equally at home in living rooms, pro studios, and on big stages. Yet in keeping with Taylor’s ethos of continuous improvement, Andy Powers has continued to bring voicing enhancements to Taylor's most popular body style. The latest refinements arrive as a potent trio of performance-enhancing, “Next-Generation” innovations that fundamentally transform the feel, sound, and live performance utility, all while retaining the core identity that players love. Debuting in Taylor’s best-selling 300, 400 and 800 Series, including both Standard and Builder's Edition models, the Next Generation Grand Auditoriums combine Taylor’s patented Action Control Neck, a new scalloped variant of Andy’s V-Class bracing, and all-new Claria System electronics—with all three design breakthroughs working in harmony to inspire players by offering a richer, more expressive musical experience.

ACTION CONTROL NECKTM — The patented Action Control Neck features a long-tenon joint extending deeper into the guitar body for dramatically enhanced sustain, warmth, and resonance, while allowing instant, precise string height adjustments directly through the soundhole—with no string or neck removal required.

SCALLOPED V-CLASSTM BRACING — Working in harmony with the neck, a new scalloped V-Class bracing pattern lightens key brace zones for increased top movement and responsiveness, delivering the warmth and richness players crave with enhanced low-end response while preserving V-Class's renowned pitch accuracy, projection and sustain.

CLARIATM PICKUP SYSTEM — Finally, Taylor’s all-new Claria System electronics revolutionize amplified performance with an improved under-saddle piezo pickup paired with a proprietary onboard preamp that eliminates traditional piezo harshness. Discrete soundhole-mounted Volume, Mid-Contour, and Tone controls enable a wide range of tone-shaping—players will find it easy to quickly dial in their preferred sound in any type of performance venue, offering remarkable plug-and-play utility.

Next Generation Grand Auditoriums start at $2,499 and include:

• 314ce
• 414ce
• 814ce
• Builder’s Edition 324ce
• BE 814ce Indian Rosewood/Adirondack Spruce
• 324ce
• 454ce*
• 854ce*
• BE 814ce Honduran Rosewood Rosewood/Sinker Spruce
• BE 814ce Indian Rosewood/ Adirondack Spruce Blacktop
  

*These 12-string models feature standard V-Class bracing.

GOLD LABEL GROWTH: SQUARE-SHOULDER DREADS + NEW 900 SERIES MODELS

One year after its debut, Taylor’s Gold Label Collection, which draws inspiration from past eras of traditional, non-cutaway guitars, welcomes another body style to the family: a square-shoulder dreadnought with a deeper body that creates an acoustic powerhouse with pronounced warmth and projection. The new dreadnought models include three tonewood pairings: the mahogany/torrefied Sitka spruce Gold Label 510e, the Indian rosewood/torrefied Sitka spruce Gold Label 710e, and the Honduran rosewood/torrefied Sitka spruce Gold Label 810e. (One other dreadnought that sits alongside these models is the Trey Hensley Gold Label 510e, introduced in Q4 of 2025.)

The new Gold Label Collection guitars start at $2,799 and include:

• Gold Label 510e
• Gold Label 710e
• Gold Label 810e

Additionally, a pair of new Gold Label models debut at Taylor’s 900 Series level, featuring an ultra-premium blend of materials and aesthetic refinements. Models include two body styles: the Super Auditorium Gold Label 914e and Grand Pacific 917e. Both pair Honduran rosewood with Adirondack spruce and feature exquisite paua-shell trim along the top, fretboard and headstock, in natural or golden-brown sunburst finishes. All Gold Label models feature the collection's signature innovations: Fanned V-Class Bracing, the Action Control Neck, and heritage-inspired aesthetics.

“It’s like players are stepping into a different musical skin with our Gold Label guitars,” says Powers. “Songwriters, bluegrass players, Americana players, rhythm players, weekend strummers, worship leaders, all kinds of different players saying, ‘Wow, I love this sound. This is a whole different face of Taylor.’”

The Next Generation Grand Auditoriums and expanded Gold Label Collection models are available now at authorized Taylor dealers worldwide. For more information, visit TaylorGuitars.com. Follow Taylor Guitars on Instagram, Facebook, YouTube and TikTok.

Sweetwater is offering a range of deals across Positive Grid’s product line, including a generous $110 off its Spark LIVE combo amp and PA system.

The Spark LIVE is a 150-watt four-channel combo amplifier and PA System all in one. We included it in our round-up of the best amplifiers for all styles and budgets last year, highlighting it as the best choice for buskers and players on the go. We even scored it a flawless 10/10 in our original 2024 review.

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The Spark LIVE is not just a “big Spark”. It hosts Positive Grid’s Sonic IQ technology making it pack a punch, which is essentially a combination of hardware and software technologies such as dynamic range compression, vocal clarity enhancement, virtual bass augmentation and more, all driven by a computational audio chip.

• READ MORE: NAMM 2026: what to expect from the biggest music trade show in the world

Across its four channels, it covers pretty much all instrument types: Channel 1 covers guitar, Channel 2 focuses on vocals/bass/acoustic-electric guitar, and Channels 3/4 are equipped with stereo direct-ins for keyboards, computer audio, and pedalboards.

Just like the rest of Positive Grid’s Spark ecosystem, it pairs with the free Spark Companion app (available on Channels 1 and 2 with eight onboard programmable presets per channel) so you can access emulations of 33 classic amp models and 43 effects.

Find out more in the video below:

The Spark LIVE is one of many great Positive Grid deals on Sweetwater right now, where you can also grab the compact Spark GO combo amp for just $119, and the portable smart amp and PA system, Spark EDGE, now reduced to $359 (saving you $90).

Shop these deals and more now via Sweetwater.

The post We called Positive Grid’s Spark LIVE “a radical leap forward for performers” – now it’s on sale with $110 off appeared first on Guitar.com | All Things Guitar.

Mateus Asato’s long-awaited debut album, ASATO, finally has a release date: 27 February, 2026.

The Brazilian-born virtuoso has enjoyed a massive social media following for years, and ASATO marks his first full-length album of original songs.

• READ MORE: “‘Single’ and happy where I am at this point”: Mateus Asato addresses rumours of him joining Fender following Suhr exit

Coinciding with the announcement, Asato has shared the first single from the album, HENDRIX, an instrumental song inspired by late guitar icon Jimi Hendrix.

“Everything started after a late night thought I had in my studio while trying to make another song for my debut album: ‘If Hendrix were alive today and we were friends… around the same age… how would he write an instrumental song?!’” Asato says.

“After that, I had a song in 20 minutes. Everything simply just came out and I felt like a vessel receiving melodies from above. A unique experience.

“But this thought only happened after reading two books of his biography. Being completely inspired by it – I had no choice but honor the greatest guitar hero in history in my opinion.”

“His passion & faith through music, his sense of feeling things. One of the things that captivated me the most about his books was the story that “he’d always use his broom while cleaning his house pretending it was a guitar when a solo was being played on the radio”. Jimi was an eternal dreamer. Jimi truly believed music had supernatural powers — and that’s why his legacy shall remain.

“This song might not relate much to Hendrix’s music in technical structure, and that is not my intention here. This is just a title of gratitude to the one who changed my perspective of playing the guitar.”

ASATO is an album rooted in the musician’s quest to show instrumental music isn’t “missing something” without lyrics. “Sometimes the point of a message is its own subjectivity,” he says. “Like an abstract painting with no description.”

It also marks the moment Asato finalises his transition from a six-string sidekick – working alongside the likes of Bruno Mars, Jessie J and Silk Sonic – to a fully-fledged solo artist.

Mateus Asato recently made waves when he announced he was parting ways with longtime guitar brand and collaborator Suhr Guitars. Fans quickly began to speculate as to whether he was about to partner with another brand, but for now, he says he’s “‘single’ and happy where I am”.

ASATO arrives 27 February. Learn more at mateusasato.com.

The post Mateus Asato’s highly-anticipated debut album finally gets a release date appeared first on Guitar.com | All Things Guitar.

Thomann-owned budget gear brand Harley Benton has announced it’s closing its Reverb US online store, citing “changes in economic conditions” which have “made it increasingly difficult for us to continue operating in the US”.

The store is set to close on 31 January, 2026, with “no more products available” from 1 February. Harley Benton does say, however, that its team will remain active for warranty, repairs and customer support”.

• READ MORE: “My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar

“This wasn’t an easy decision, and we’re truly grateful for the enthusiasm and support you’ve shown to our brand,” Harley Benton writes in a new post on social media.

It adds that until the store’s closure on 31 January, “this is your last chance to grab Harley Benton gear directly from our warehouse – discounted and without tariffs”.

“Thank you to our US community for the trust, passion, and love – you’ll still be able to order Harley Benton instruments anytime via harleybenton.com, shipped from Germany through Thomann. We still focus on our mission to provide high-quality gear at fair prices.”

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Tariffs implemented by US president Donald Trump over the past year have led to an increasingly hostile economic climate for guitar brands.

Just last month, Höfner – the German maker of Paul McCartney’s legendary violin bass – blamed its recent bankruptcy filing on the effects of US tariffs.

And a report in September from financial information and analytics expert S&P Global revealed that Fender had increased prices over the first half of 2025 to offset higher costs from tariffs, “especially from China, which makes up 40% of purchases (half of which enter the US).”

Speaking in July, guitar accessories manufacturer D’Addario said it expected to incur more than $2 million in tariffs in 2025 as a result of US international trade policy.

We caught up with John Mlynczak, CEO of NAMM – which is due to kick off later this week – in July to get his views on how Trump’s tariffs are shaping (and damaging) the musical instruments industry.

“We met with high-level members of Congress just to follow up and say… American-made brands can’t make these products unless they get wood from overseas,” he said. “We don’t grow these species of wood in the United States!’”

You can check out Harley Benton’s Reverb US store until 31 January.

The post Harley Benton closes US Reverb store blaming “changes in economic conditions” appeared first on Guitar.com | All Things Guitar.

For Jacob Collier, music is its own solar system, and the possibilities are endless – because nothing you feel moved to create is right or wrong. You could write a song for a sitarist and an opera singer, or a harpsichord player and a shred guitarist. You could even write an album primarily for a unique five-string guitar, tuned to DAEAD.

As he became the internet’s favourite musical polymath – wowing the world first with his YouTube videos before embarking on a multi-Grammy-winning run of albums – there was a running joke that the 31-year-old had ‘completed music’.

Jacob Collier on the Guitar.com Cover. Image: Paige Margulies for Guitar.com

Indeed, the former Royal Academy of Music jazz piano student is capable of commanding an entire orchestra in real time – which is why his latest turn, to a new musical era that focuses on his voice and acoustic guitar, is so striking.

Pivoting to being a guitar guy is something that Collier has been thinking about since he started teaching himself to play in 2016, but it’s not a venture he felt prepared for until this moment. For starters, he’s had to develop a unique five-string guitar to realise his vision for the instrument. It doesn’t matter how an instrument should be played, Collier reckons. That’s why he’d choose five strings and an unconventional tuning over six any day.

“I learned a lot about guitar playing when I had to record takes in full… that was such a refreshing challenge”

“The guitar is such an important part of my musical vocab book,” he explains during some downtime on the final leg of his world-spanning Djesse Vol. 4 tour. The thing that clearly excites him most at the moment however, is his latest album, The Light For Days.

A huge sonic departure for Collier, the 36-minute album conveys the delicate beauty of his DAEAD-tuned five-string acoustic guitars and his rich, caramel vocals. The virtuosity and remarkable gift for harmony is present and correct, of course, but presented in a way that leaves him no hiding place as a musician.

“I learned a lot about guitar playing when I had to record takes in full,” he admits. “Because I didn’t lean on any studio-based techniques to get away with not playing real stuff. It’s all me playing, and that was such a refreshing challenge.”

Image: Paige Margulies for Guitar.com

At The Crossroads

Guitar has steadily crept into Collier’s musical output as he grew more comfortable with the instrument, but a tipping point came in 2024. Collier worked with Swedish ergonomic guitar innovator Strandberg to develop his own signature guitar – the first glimpse of his unique five-string vision for the instrument.

The guitar would feature prominently on Djesse Vol. 4’s boisterous track WELLLL, which was the final push launching him into this guitar-centric chapter.

“Spending time and attention with one instrument always tends to benefit,” he admits now. “When I played guitar nonstop for four days, it made me notice where my comfort areas are. I was trying some palm-muting things out for the first time and some different kinds of hammer-on effects, and even playing with some harmonics and thinking patterns. It was fun to be inventive.”

“I’d figured out stuff in my head that was only real once it was in my hand. I’d found this language”

Alongside the album, Collier also debuted a trio of new signature guitars with another forward-thinking guitar brand, Taylor. Again, the vision with these new guitars wasn’t to make something that had traditional mass-market appeal – even if two of the models have accessible price points.

All three guitars feature the same five-string layout, and are designed for that same unconventional tuning. There are other flourishes that set them apart from the norm. Collier’s interpretation of the popular GS Mini features a typically bold geometric soundhole rosette, while his Academy 22e model featured an eye-catching smoked eucalyptus bridge and fretboard that Collier quips is “really quite profound”.

But it’s unlikely to be the visuals of these instruments that cause guitarists to double-take – it’s that conspicuous absence of a sixth string. “If I hand a five-string guitar to people who are very familiar with playing six-string guitars, they’re delighted by the challenge,” Collier grins.

Image: Paige Margulies for Guitar.com

Take Five

“Challenge” might be an understatement since Collier’s playing style – which often sounds like a fluttering collection of notes in constant glissando – is equal parts Andy McKee and Tim Henson. But he’s keen to stress that the virtuosity he displays on tracks like Heaven is just one interpretation of the five-string concept.

“It’s like this strange hybrid of languages,” he continues. “It’s half-tuned like a mandolin or a bouzouki or a cello, in fifths, and it’s half-tuned in fourths, which is more like a bass guitar or a ukulele. It’s cool to see different people play it in their own ways.

“I remember handing one to Julian Lage, who’s one of the world’s greatest guitar players, and he had a really interesting approach. But then Chris Thile, one of Earth’s greatest mandolin players, had a completely different way of playing it.

“It’s an interesting kind of beast and it has refreshed me with a different perspective. It’s so easy to pick up and make it sound good – the shapes are straightforward and you can be really adventurous with that. It’s just a great place to start.”

“I’m a huge advocate for scrappiness in music”

The origin of this unique approach can be traced back to his initial forays into the guitar, which date back far before his recent infatuation, and it might surprise you to learn that it’s not as simple as wanting a guitar with one fewer string.

“I grew up playing tenor guitars,” he explains, referring to the once-popular four-string student models developed in the 1930s. “But I always had this wish to add another string. The five-string was initially an augmentation of a four, rather than a diminution of six.

“I mentioned the idea to my good friend Andy Powers, who’s Taylor Guitars’ master builder, and he built me this prototype. It was so mind blowing and exciting for me because I’d figured out stuff in my head that was only real once it was in my hand. I’d found this language, and it was really satisfying to see that language come to life on an instrument.”

Image: Paige Margulies for Guitar.com

Friends Indeed

Given that Collier has, at times, been described as the “Mozart of Gen Z” – and whose understanding of pitch and harmony is so unique and remarkable that legends like Herbie Hancock and Quincy Jones decided to mentor him when he was still a teenager – it’s perhaps not surprising that he’s developed his own unique approach to playing guitar.

But Collier stands firm in the opinion that anyone can reach these lofty heights.

“Anybody in the world who has ever played an instrument to a high level has started on day one, just like everybody else,” he says. “It’s a levelling thought, that everyone starts equal. I really believe to my core that there are intuitions about life that exist in music as a parallel situation.

“Music is much more inherent than people think,” he continues, “and a lot of people are intimidated or even put off when they start out as a musician. They might have one of those teachers who tells them they have to play the right notes or that they’re doing it wrong.

“I’m not interested in people imitating me. I would much rather people be themselves”

“But look at me with my five-string guitar – it’s about having a sense that anything is possible. My job is to imagine things worth existing, and then making them real as an artist. That’s my duty.”

Perhaps not so surprisingly, this inclusive mindset has gained Collier his own burgeoning fanbase who are unabashed about their deep connection to the musician. When we ask him about a video posted to Instagram in which a wonderstruck fan turned 100 at one of his shows, he smiles wide in recognition.

“Oh, you mean Nancy?” he asks. “Yeah, she’s become a really close family friend now and she knows my mum. But I think of my whole audience as my friends. Many of us have grown up together and the thing I’m proud to have created more than anything is community.

“This space of Jacobean people – it’s such a diverse group. I’m such a non-believer in monoculture where everyone comes to a gig dressed up in the same way and everyone wears the same hat and the same outfit. I’m not interested in people imitating me. I would much rather people be themselves.”

Image: Paige Margulies for Guitar.com

Risky Business

This constant theme of originality in Collier’s artistry has lately earned him his 16th Grammy nomination for Keep an Eye on Summer, a track on The Light for Days. It’s a nod to the impact this new acoustic, five-string guitar era has had on the industry.

He’s already the first Brit to win a Grammy for each of his first five albums. It shows that taking a risk and playing an instrument your own way pays off.

“What’s interesting about the Grammys is that they’re voted on by musicians,” he says. “You have to have made music or have a credit on a published piece of music to be eligible to vote in the Grammys. Every system is very biased, but I feel so proud and so lucky to have been recognised by those particular peers.”

Collier is also the only person to be nominated twice without his records ever charting. “That’s something I’m very proud of,” he says. “I think there’s such a change in the air, and it makes me so excited about all the artists who are coming up who don’t have commercial success.

Image: Paige Margulies for Guitar.com

“I totally respect people who are suspicious [of the Grammys],” Collier adds quickly with a smile. “There’s no measuring stick for music and you can’t objectively say what the best is. That’s not real. Obviously the whole thing is made up. But I think there are real people involved who take music seriously.”

Arguably, no one takes music more seriously than Jacob Collier. As he says time and time again, there’s no such thing as the right way to play something, and he’ll continue championing this mindset for the rest of his career.

“I’m a huge advocate for scrappiness in music,” he says, “and I’m an advocate for five-string guitars. I’m grateful to celebrate their existence in the wild.”

Words: Sophie McVinnie
Photography: Paige Margulies
Styling: Morgan Grimes
Glam: Yuval Ozery

The post “My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar appeared first on Guitar.com | All Things Guitar.