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Acoustic Month is here at Guitar Center – and you could save up to 30% on your forever acoustic guitar
[Editor’s note: Check out some of the best deals from Guitar Center’s Acoustic Month below. If you’re based outside the US, you’ll see some similar deals from our favourite retail partners local to you.]
If you’re on the hunt for a new acoustic, Guitar Center has got you covered. The company has officially branded June as Acoustic Month, and it’s celebrating by slicing the prices of loads of acoustic guitars, electro-acoustic guitars, and ukuleles by up to 30%.
Up until 24th June, the Acoustic Month sale is offering top deals on top brands, including Epiphone, Taylor, Fender, Gibson and more. We’re talking 25% off a Gibson J-45 Studio Acoustic-Electric with a Rosewood Burst finish; with a price knock of $2,499 down to $1,874, you can save nearly $625 by copping one in the Guitar Center sale.
If you’d prefer a slightly cheaper Gibson J-45 Studio, the Walnut model is also sitting at a 25% discount. The drop brings the price down to just under $1,800. Both models come in the J-45 Studio’s comfortable 24.75” scale length, with each guitar’s respective walnut or rosewood tonewood paired with all-solid sitka spruce tops.
Elsewhere, some Guitar Center exclusive releases have also been marked down. The Martin GPC-X1E Special X Series HPL in particular is currently available for just under $660, which will save you $100. The acoustic-electric guitar comes in a striking white finish, and consists of a strong HPL construction, scalloped X-bracing, and E1 electronics to ensure your tone remains on point.
Another $100 saving on a Guitar Center exclusive comes in the form of Taylor Guitars’ 114ce Sunset Blvd Grand Auditorium. Constructed from a sitka spruce top, layered sapele back and sides, Taylor’s unique C-Class bracing, and finished off with gold hardware, this Sunset Edgeburst model looks as classy as it sounds.
Yamaha also has a few strong deals in the running, with $200 knocked off the price of the AC3M DLX A Series Concert Acoustic-Electric Guitar. The Guitar Center exclusive Sand Burst edition is now just shy of $900, complete with its all-solid mahogany back and sides, sitka spruce top and SRT2 pickup system.
To discover more Acoustic Month deals, head to Guitar Center.
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Steve Vai admits he was worried about being able to play King Crimson’s guitar parts at his age: “65-year-old Steve Vai taking on Robert Fripp at 25 and at the top of his game?”
Emulating another guitarist’s tone can be challenging – but trying to capture the spirit of Robert Fripp? That’s an entirely different ball game. In fact, when Steve Vai was asked to perform in King Crimson supergroup BEAT back in 2022, he initially didn’t believe his chops were up to the task.
Speaking to Classic Rock, Vai reveals that one of his first thoughts upon joining BEAT was “can I even play this stuff?” While Vai was an accomplished axeman, he doubted whether he could compete with the young, hot-blooded Fripp riffing away on ‘80s King Crimson records. “It’s a sixty-five-year-old Steve Vai taking on Robert Fripp at thirty-five and at the top of his game,” he says.
Vai, however, isn’t one to back down easily. “I went back to the music and decided to accept the challenge,” he explains. “I worked with Frank Zappa, and then David Lee Roth after Eddie Van Halen. I’m addicted to challenges!”
To fully get to grips with certain tracks, Vai had to make some adjustments. “On about ten per cent of the material I changed the [finger] position to suit my style, but I’m playing the same notes,” he says. “There were pieces that presented problems. One was Three Of A Perfect Pair – you just had to play it the way Fripp played it. I couldn’t cheat, I had to learn it Robert’s way.”
In a 2025 interview with Vintage Guitar, Vai explained that he had somewhat of a Robert Fripp Bootcamp to finesse his King Crimson skills. “I had to study Fripp…” he said. “I got into his disciplinary style.”
However, Vai noted that he had to adjust Fripp’s style to suit his abilities. Despite his skills, Vai insisted that he felt like no spring chicken when tackling Fripp’s guitar parts. “On Frame by Frame [from King Crimson’s 1981 album Discipline], there’s that relentless cross-picking riff that’s simply outside of my wheelhouse, especially at my age,” he said. “I didn’t feel like I could play it consistently every night, so I needed to figure something out. So, I took it into my wheelhouse, which is tapping.”
Despite having to tweak his approach to certain parts, Vai has been given a firm stamp of approval from Fripp himself. In the Vintage Guitar interview, Vai recalled some advice Fripp gave him: “Fripp said, ‘If I were sitting in the audience, I wouldn’t want to see you doing my kind of solo. I wanna see Steve Vai go crazy!’ So, that’s what I do.”
During Sweetwater’s 2025 mini-documentary of BEAT’s tour, Vai revealed that Fripp had been the one to suggest the fix for Fame By Frame. The advice came in an email of constructive feedback and praise. “He was commenting on some of the clips he saw, which was very nice and constructive,” Vai said. “Then he said at the end, ‘Can I make a suggestion for Frame By Frame?’”
“‘Why don’t you do your hammering with the notes, and then take it out? Improvise your hammering and move from one chord to the other’… I did it that night at the show, and it worked beautifully.”
Alongside Steve Vai, BEAT consists of Crimson’s own Adrian Belew and Tony Levin, as well as Tool drummer Danny Carey. The project has proven to be a success amongst King Crimson fans, even recently adding an extra UK date in Wolverhampton to keep up with demand. As it stands, touring isn’t due to end until September 2027, so there’s still plenty of BEAT to go around.
BEAT’s European tour kicks off in Wolverhampton on June 7. For dates and ticket links, visit the BEAT website.
The post Steve Vai admits he was worried about being able to play King Crimson’s guitar parts at his age: “65-year-old Steve Vai taking on Robert Fripp at 25 and at the top of his game?” appeared first on Guitar.com | All Things Guitar.
“We wanted to rethink the entire approach to guitar care”: StewMac launches new GuitarTek range of premium guitar cleaning products
StewMac – a brand specialising in products for guitar maintenance, repair, restoration and modification – has launched GuitarTek, a new line of premium cleaning and maintenance products for your guitar.
GuitarTek has been conceived to battle the concept of “one-size-fits-all cleaners and polishes”, which often contain harsh chemicals harmful to your instrument, the brand says.
The line consists of four new products, all purpose-designed and dermatologist-tested to “deliver professional results without compromising the instrument – or the player”. They’re each made with Amazonian Rosewood oil, and are free of harmful silicone and petroleum.
- READ MORE: The Guitar.com Magazine May/June 2026 issue with Grace Bowers on the cover is now on sale
First is Gloss Max, a high-shine, silicone-free polish designed for gloss-finished guitars. It’s said to restore “brilliant, mirror-like shine” without streaking. There’s also a total-care cleaner, Clean Axe, which is essentially your all-in-one cleaner solution for removing caked on dirt (we all know how that builds up on the fretboard). This is available both in convenient multi-pack wipes or 4 oz. spray bottles.
And finally, your fretboard might be the healthiest it’s been in years with Board Oil – a new fretboard cleaner and conditioner for cleaning stubborn grime, rehydrating dry wood and restoring a natural feel and appearance. This comes with a StewMac-designed patent-pending applicator.
“We’ve spent years helping people fix and build guitars. This is about helping them to take better care of them every day,” says Brock Poling, StewMac VP of Marketing and Customer Experience.
“We didn’t want to make just another cleaner. We wanted to rethink the entire approach to guitar care – from the ingredients to the way players actually use these products day to day.”
“With GuitarTek, StewMac delivers on a simple promise: pro-level guitar care made simple,” the brand says.
“Whether it’s restoring shine, conditioning a dry fretboard, or maintaining a full instrument, players now have a complete system tailored to every surface of their guitar.”
Pricing for the new GuitarTek line is as follows:
- GuitarTek Gloss Max, 4 oz. – $12.99
- GuitarTek Clean Axe, 4 oz. – $12.99
- GuitarTek Clean Axe Wipes, 10-pack – $12.99
- GuitarTek Clean Axe Wipes, individual – $1.29
- GuitarTek Board Oil, 1 oz. – $12.99
- GuitarTek Complete Clean & Polish Set – $29.99
- GuitarTek Essential Guitar Cleaning Set – $17.99
- GuitarTek Essential Guitar Polish Set – $17.99
Learn more at StewMac.
The post “We wanted to rethink the entire approach to guitar care”: StewMac launches new GuitarTek range of premium guitar cleaning products appeared first on Guitar.com | All Things Guitar.
Slash admits that he was getting tired of the “very predictable Marshall sound” in his music
Back in 2023, Slash’s 30 year love affair with Marshall amps began to change. The Guns N’ Roses axeman opted to use Magnatone amps throughout 2024’s Orgy Of The Damned, explaining that he had grown “disillusioned” with the sound of a Marshall amp.
Once again, Slash has reflected on how Marshall amps fell out of his favour. In the latest issue of Guitarist, Slash explains that 2023 saw him experimenting with non-Marshall amps for the first time –something that was a “big deal”, but a necessary one. “I started jamming with [different] arrangements and I just didn’t want to use my normal Marshall sound,” he explains.
- READ MORE: Marshall Amps – The Complete History
The experimentation spanned from using a pair of Fender Twins, Fender Deluxes, a Vox half-stack and even a vintage Vox combo amp. However, the M-80 Magnatone was what really caught Slash’s ear. “I went through different amps and when I got to the Magnatone, which had been given to me but I’d never used before, I ended up using it for every song,” he says.
While Slash is still a recognised Marshall artist, his love of Magnatone is clear. He thought it sounded great on Orgy Of The Damned, perfectly paired for its more blues-leaning record, but he has since began using it with Guns N’ Roses, too. “It was a bit revelation, because [the Magnatone] gave me the sort of power that I wanted,” he says. “It also gave me a kind of clarity.”
“I think I was starting to get tired – as much as I hate to say it – of the very predictable Marshall sound, which I was sort of know for,” he admits. “It was starting to wear on me. I’d been using Marshall for so long that I’d never listened to anything else. I never gave anything else a shot because it didn’t have the Marshall mid-punch…”
Speaking with Magnatone in 2025, Slash also expressed similar feelings. “Over time, I started to get… disillusioned, with the consistency of my sound with the Marshall, or whatever it was,” he said. “There were things I wanted to achieve that I wasn’t really getting out of those amps.”
“I played a Magnatone one time, just by chance, really…. [Guns N’ Roses guitarist] Richard Fortus gave it to me. I went to go do this blues record [and] I wasn’t looking for a wall of sound… I wanted something that was more like a combo, 50-watt or less type of deal. So, I pulled out all these old combos that I had, and I saw the Magnatone… Out of everything I had, I kept going back to that amp.”
It seems like many guitarists are keen to shake up the formula and try new amps and experiment with guitars as of late. Even Animals As Leaders’ Tosin Abasi has recently critiqued the “crystallised” state of the guitar industry, telling Guitar Center: “The most iconic instruments have been kind of crystallised since the ’60s… a lot of guitar players get in their mind, like, ‘Oh, well, Jimmy Page was fine with that’ [so I am too].”
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EHX Pico Intelligent Harmony Machine review: impressive tracking hampered by inevitable compromise
$149, ehx.com
Pitch shifting is all well and good – but what happens when you want to stay in key? A wild idea for some, perhaps, but if you want to go beyond power-chord intervals and octaves in your harmonised playing and remain within a scale, you’re going to need a smarter harmoniser pedal. Electro Harmonix’s Intelligent Harmony Machine has now been folded into the NYC DSP range – the brand’s lineup of extraordinarily dinky four-control multi-mode mini-pedals. It’s this Pico version of the IHM I’m taking a look at today.
- READ MORE: ADDAC System Mixology review: “it really can breathe new life and modern utility into old pedals”
EHX Pico Intelligent Harmony Machine – how does it work?
The Pico IHM offers a frankly impressive range of different pitch-shift modes, probably more than even the most enthusiastic harmonised guitar fan will need in the average live set. There are two main modes – single and dual, with 10 different harmonies in each. Single cycles through the available intervals, and dual cycles through a set of combined dual intervals, such as a fourth up and a sixth up, or a third down and a third up. There’s a discrete blend control for your dry signal, and a volume control for the pedal as a whole.
Because the pedal harmonises diatonically, you need to tune your guitar to A=440Hz (sorry 432Hz truthers) and select a key. All of the keys on the dial are major – you need to do a little on-the-fly transposition in your head (or with the lookup table in the manual) for the relative minor. To get to the sharps, you tap the mode switch once – a long-press switches between the single and dual modes.
Image: Press
EHX Pico Intelligent Harmony Machine – build quality and layout
Mini pedals might make you think cheap-and-cheerful – but not here. It’s safe to say that EHX has become somewhat of a dab-hand at constructing things like this – it’s a fairly heavy little thing, with sturdy knobs and jacks, particular the audio jacks, which are the type that lock onto your patch cables with the strength of a thousand black holes.
As for the visual design – it’s fine. It’s a bit of an uninspiring colour, but the abstract computery elements are pretty neat and do a good job of evoking the whole “intelligent” thing they’re clearly going for here. The layout in general is visually pleasing enough and what information is actually on the pedal is very readable – however the physical layout leads us to usability, which I want to put a big pin in – first, let’s talk sounds.
Image: Press
EHX Pico Intelligent Harmony Machine – sounds
In general, the Pico Intelligent Harmony Machine sounds ok. Sometimes it even sounds great – particularly in the octave and fifth modes. It will do the job of harmonising your signal at the set intervals, and the quality of the pitch shifting is for the most part acceptable. I wouldn’t want to record with it, but when it’s working best it’s definitely good enough for live usage. However, being an intelligent harmoniser, the pedal in some intervals has to track your playing. You may remember earlier in this paragraph where I said that the modes where it just blindly shifts your playing up a fifth or an octave sound the best – there’s a reason for that.
The tracking is, of course, the key selling point, but here we run into the inherent problem of intelligent harmonising in a guitar pedal: a meeting of theoretical perfect pitches, and the physical reality of a guitar. Guitars are not synths. Their output is pretty messy, pitch-wise, especially if you play with gusto – which means the Pico IHM can have a hard time keeping track.
Even if you anticipate these difficulties and play deliberately and gently, the diatonic modes falter in the face of bends, panicking and chirping between two scale notes in the mid-point. This is more of a limitation of the category itself, but it’s important to note that for some obvious use-cases – such as big, harmonised solos – there’ll be a few moments where you get glitchy splutters rather than clean harmonies.
That also brings me to distortion – if you were hoping to go all Iron Maiden with the Pico IHM in particular, its form factor introduces a bit of a frustrating limitation – there’s no dry output, making you choose between two less-than-ideal placement options. I found that placing the Pico IHM after my dirt for the most part led to a better sound, with a cleaner mix of harmonies – but worse tracking with far more ‘chirps’ up and down, as the pedal tried to latch onto the core note of a far more harmonically busy signal. On the other hand, placing it before distortion led to better tracking, but a far messier sound, as the distortion would then amplify the IHM’s digital artefacts and intermodulations.
A dry output could let you have the best of both worlds, with separate signal paths for wet and dry signals – meaning you could track your clean playing, and then distort the harmonised and non-harmonised signals individually, either mixing them back down post-distortion or using separate amplifiers for each.
With that said, this is a mini pedal, and if you’re space-strapped enough to need to get this rather than the full-sized pedal, such an involved setup may be beyond what you want to put together – and the sonic payoffs may be worth the simplicity for you. However it’s not just the sounds being compromised here…
Image: Press
EHX Pico Intelligent Harmony Machine – usability
Ok, back to that pin we put in usability. One of the most notorious things about miniature pedals like these is that they’re not very good at being complex, and not just because they lack processing power. In 2026, they can be pretty damn powerful. Instead, the main issue is just how multi-layered and obscure the interface has to be when you’ve squished all of the features of a multi-mode intelligent harmoniser into a four-knob mini pedal.
There’s the basic physical stuff here – such as the fact that the knobs are very close together and smooth, meaning that actually adjusting them is quite fiddly. But more frustratingly, the controls to select your key and the interval of the shifting are both continuous pots rather than discrete rotary selectors. The lack of reassuring tactile feedback is just, well, not great – it’s mildly annoying on the key selector, but borderline unacceptable on the interval selector, which has no markings to delineate what you’ve selected. You need to watch for a flash of the bypass light to tell you when you’ve hit a new interval, but this doesn’t tell you what you’ve selected – you need to consult the manual or just memorise the list of intervals and where your preferred setting is within it.
For home playing, this is a bit annoying, but changing to a different interval mid-set on a dark stage, it becomes fraught with risk of mis-selection. The frustrating thing is, the full-size pedal has actually solved this problem, listing out its harmonies on its face, and offering dedicated switches for sharp/natural and major/minor – not to mention that dry output. Which sort of begs the question – are all of these sacrifices made for the Pico version actually worth the size payoff?
Potentially not – I personally would take the real-estate hit for the signal-chain flexibility and reassurance that I’d actually selected what I wanted to select, and it’s also worth remembering that mini pedals only save so much space, particularly if you need to hit the footswitch without also hitting something else.
Image: Press
Should I buy the EHX Pico Intelligent Harmony Machine?
In terms of getting harmonised guitar parts without having to resort to something so drastic as adding a band member, the Pico IHM does work well enough for some use-cases – cleaner players who aren’t worried about lots of on-the-fly key and interval changes will do just fine with it, and hey, save some space to boot. But it’s not like the full-sized IHM is a mega-pedal behemoth, nor is it substantially more expensive – so I would urge most players towards that.
EHX Pico Intelligent Harmony Machine alternatives
Outside of the obvious EHX alternative, you could also explore the Boss PS-6 Harmonist, or the TC Electronic Quintessence, both of which are standard stompbox sized. If you’ve recently robbed several banks, you could also explore the Eventide H9 Harmonizer, which is a hell of a lot pricier, but powerful enough to launch a Mini Cooper into the orbit of Callisto.
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Totally Guitars Weekly Update May 29, 2026
May 29, 2026 Since last week’s Update was mostly a personal journal of the recent weeks I thought today I would answer some recent questions from students and the TG Community. The topic of the day was intervals, starting with fourths and how the guitar strings can help you remember the major chords in a […]
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Podcast 552: Darryl Rahn
This week’s podcast guest is Brooklyn-based singer-songwriter Darryl Rahn.
Rahn recounts a fateful day in the 5th grade that convinced him to take up guitar, his tips for using a pickup on an acoustic, the gear he used on his new album (Darryl, out now), and more.
https://www.instagram.com/darrylrahnmusic/?hl=en
Join us at our 2026 Fretboard Summit in Chicago for three days of guitar demos, concerts, workshops and podcast tapings with some of our favorite artists: https://fretboardsummit.org
This year’s Summit has over 80 luthiers and brands showcasing their new and prototype gear!
Subscribe to the Fretboard Journal’s quarterly print magazine: https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription
We are brought to you by Peghead Nation: https://www.pegheadnation.com
(Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).
Mike & Mike’s Guitar Bar: https://mmguitarbar.com
The post Podcast 552: Darryl Rahn first appeared on Fretboard Journal.
Podcast 551: Brad Barr
Musician Brad Barr joins us this week to share the story of the Barr Brothers’ 2025 album, Let It Hiss, and talk guitar.
Brad’s guitar playing is uniquely shaped by world music sounds. For years now, Brad has been using a simple but effective trick to make drone/violin sounds on his guitar: Tie a piece of sewing thread on a guitar string near the bridge. The effect, inspired by the playing of Romanian violinist Nicolae Neascu of Taraf de Haidouks, is hauntingly beautiful.
He explains how he came about with the technique and where he wants to take it. We also chat about his 1951 Gibson J-45, the musicians from Mali who inspired him, and so much more.
https://thebarrbrothers.com
https://www.instagram.com/thebarrbrothers
Join us at our 2026 Fretboard Summit in Chicago for three days of guitar demos, concerts, workshops and podcast tapings with some of our favorite artists: https://fretboardsummit.org
This year’s Summit has over 80 luthiers and brands showcasing their new and prototype gear!
Subscribe to the Fretboard Journal’s quarterly print magazine: https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription
We are brought to you by Peghead Nation: https://www.pegheadnation.com
(Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).
Mike & Mike’s Guitar Bar: https://mmguitarbar.com
The post Podcast 551: Brad Barr first appeared on Fretboard Journal.
Fender claims social media has led to “a lot of misunderstandings about the nature and the scope” of their cease and desist blitz… as PRS confirms they were one of the brands affected
Fender’s legal campaign over the copyright of the Stratocaster body shape shows no sign of reaching a resolution, though the brand is revealing more about their perspective on the situation.
Today, Fender has released to Guitar.com legal correspondence between itself and another guitar brand that references the social media storm caused by these legal threats becoming public, and claims that this has led to “misunderstandings” that it seeks to clear up.
Fender releasing the correspondence comes on the heels of a Wall Street Journal article yesterday that – in addition to reporting much of what Guitar.com has already revealed about the situation – broke the news that PRS has also been sent a cease and desist letter.
PRS, of course, is the maker of the Silver Sky – the John Mayer signature model that is heavily inspired by the Strat, and has the distinction of even outselling Fender’s original on Reverb in recent years.
PRS wouldn’t comment in detail about the letter, only telling the WSJ that, “The company said it disagrees with Fender’s assessment and declined to comment further.”
PRS joins LsL as the only two brands to confirm publicly that they have been sent these cease and desist letters – but Guitar.com can reveal that at least one other global major guitar brand has been sent one. We cannot name the brand for confidentiality reasons, but we can share that the brand in question has rebuffed Fender’s demands via its own lawyers.
Is it all a big misunderstanding?
70th Anniversary Player Stratocaster body. Image: Adam Gasson
In the correspondence that Fender released to us, which closely mirrors the document we reported on earlier this week, the brand makes it clear that they are aware of the huge social media backlash that has accompanied this story.
“These letters have triggered a substantial echo, not only from its addressees and their lawyers, but also from the media and on social media,” it reads. “From these reactions, we took that apparently there have been a lot of misunderstandings about the nature and the scope of the matter.”
The letter goes on to say that they hope the rest of the text “will clarify many aspects and will help to avoid further or continued misconceptions.”
While the letter goes on to challenge various aspects of Fender history and legal precedent raised in the original letter sent to them, the brand’s lawyers speak more generally about the perception of their actions in the wider guitar community.
“In particular, we would like to make it clear to everyone that Fender does not object to double cutaway or two horned electric guitar bodies,” it reads. “But only to such electric guitar bodies which are close copies of the design of the iconic “Fender Stratocaster.” Everybody is welcome and will be able to continue making and selling double cutaway and/or two horned electric guitars, as long as they are designed sufficiently different from the “Fender Stratocaster”.
LsL speak out
Fender Steve Lacy People Pleaser StratocasterPhoto by Adam Gasson / Guitar.com
While Fender is trying to get its side of the story across to the guitar community, the first brand who spoke out about the cease and desists, LsL Instruments, have also released a statement to Guitar.com relating to the outpouring of support they’ve received in the week or so since they launched a GoFundMe to help cover legal costs.
“We want to thank everyone in the guitar community for their support and help as we navigate such a massive situation with such massive implications,” said LsL’s Johny Miller.
“We’re not champions here. We’re just a small shop full of good people that build the best guitar we possibly can for the great people that will own and play them for a lifetime (we hope). Please continue to support us by sharing our Go Fund Me and please do know that every build counts. We are sincerely grateful for every order. Every build helps us stay afloat.
“The story of boutique guitars needs to be told. It has been presented and well received over the last few decades, but we intend to tell the whole story in the true positive light it deserves.
Most of us know each other. This community is tighter knit than most realise and there is a kindness that flows from one of us to the next. A boutique bond if you will. We plan to come together, in a most respectful and responsible manner, to help you all understand why this niche corner of the guitar world is so very special and worth protecting.”
Miller confirmed that he has begun working with other boutique builders to better tell the story of the community, and will be publishing it on his blog in the coming months, because, as he puts it, “unity always prevails”.
Fender’s own communication implies that a significant number of brands have been sent these cease and desist letters. According to Fender’s lawyers, some are opting to enter into “reasonable settlement discussions” rather than push back – it remains to be seen if the unity Miller speaks of will have any substance on this particular situation.
The post Fender claims social media has led to “a lot of misunderstandings about the nature and the scope” of their cease and desist blitz… as PRS confirms they were one of the brands affected appeared first on Guitar.com | All Things Guitar.
“The most iconic instruments have been kind of crystallised since the ’60s”: Animals As Leaders’ Tosin Abasi on why the traditional guitar blueprint deserves a revamp
Sometimes, experimental music demands an experimental instrument – and that’s exactly why Tosin Abasi founded his own guitar brand, Abasi Concepts, in 2017. Nearly a decade on, the Animals As Leaders’ frontman is continuing to reimagine the guitar in bold, innovative new ways.
Just last year, Abasi collaborated with Ernie Ball Music Man to create the quirky Kaizen guitar. It came as his latest stand against the tired, conventional guitar blueprint many brands continue to follow. “The guitar space is really interesting, because the most iconic instruments have been kind of crystallised since the ’60s,” Abasi says in a new interview with Guitar Center CEO Gabe Dalporto.
- READ MORE: Fender celebrates 75 years of the P-Bass with the 75th Anniversary Precision Bass Collection
With Fender celebrating 75 years of the Telecaster and 70 years of the Strat, it’s wild to consider just how much the guitar world has advanced since the dawn of those now-iconic axes. However, Abasi notes that artists often seem to bind themselves to traditional guitars, rather than pushing for newer designs. “It’s a strange argument because a lot of guitar players get in their mind, like, ‘Oh, well, Jimmy Page was fine with that,’” the prog-metal frontman notes.
In Abasi’s mind, sticking to a Jimmy Page-approved axe is like telling yourself “I guess I don’t need more fret access” or “I don’t need better balance”. But Abasi believes there’s always room for improvement.
In contrast to those sticking to traditions, the frontman has taken on the duty of pushing the guitar forward. With the help of Ernie Ball CEO Brian Ball, Abasi allowed to let his imagination run wild. “We thought it would be cool to try something novel as opposed to the traditional sort of signature thing,” he says. “It was an opportunity for me to make a Music Man that I felt didn’t exist.”
“It’s this very interesting balance of designing the guitar further to feel like you’re benefiting from the design without leaving behind the bones of what makes a guitar feel gratifying,” he goes on to explain.
The multi-scale Kaizen benefits from a slew of unique tweaks on a traditional axe. Firstly, the bass comes in at a standard 25.5” scale, while there’s a shorter 24.75” scale in terms of treble. Another perk is the super thin body, designed to mean it never “gets in your way”, as well as an Infinity Radius fretboard.
The improvements should show that the classic guitar formula certainly has the potential to be enhanced.“The Infinity Radius prevents the need to tilt the guitar [to get a full view of your fretboard],” Abasi says. “The strings fall a little bit more effortlessly where you want them.”
You can check out the Kaizen collection at Ernie Ball.
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“We got a cake delivered by James Hetfield”: Architects’ Sam Carter explains why Metallica are one of the kindest bands he’s toured with
When you’re invited to support Metallica on tour, it’s a true cause for celebration – and even the band themselves seem to realise that. When Architects had the honour of opening for the iconic metallers on the 2023 and 2024 leg of the M72 World Tour, frontman Sam Carter reveals that Metallica gifted the band a celebratory cake to welcome them on tour.
Speaking on the The Jesea Lee Show, Carter reflects on how kind and welcoming Metallica were from the get-go. “Metallica really know how to treat bands… on the first day we got flowers, and we got a cake delivered by James Hetfield,” Carter recalls [via Blabbermouth].
However, the bandmembers were also incredibly keen to bond with Architects across the tour. While touring with Metallica is a dream in and of itself, their kindness only made the experience more special. “Lars Ulrich was hanging out with us most days,” the singer says. “Hetfield would [also] come in and hang out with us… [it made us] feel like a million bucks.”
“After the shows, Metallica invited us for dinner every night and we would go to a closed off restaurant with them and eat in insane places,” he later explains. “They don’t need to do that! And they’re doing this [with] no cameras [around]. There’s nothing there. There’s no one following them around with a video camera…. It’s just their TM [tour manager] and them being like ‘Welcome to the tour. You need anything, we’ve got you.’”
The humility and eagerness to bond with support acts is something that Architects have really taken on board, and influenced how they treat their own support acts. “They really taught us to be on it with your supports – and we always are,” he explains. “We always try and make an effort and make sure everyone’s okay.”
Carter goes on to explain that Linkin Park are equally as welcoming to their support acts. Architects have supported the legendary nu-metal act throughout the From Zero tour across 2025 and 2026, and every day was a treat. “The first day, Linkin Park invited us into their dressing room, and Mike Shinoda’s texting me asking me to go and sing with them!” Carter says, smiling at the kindness. “And [Linkin Park and Metallica] are two of the biggest bands in the world!”
Metallica are set to hit the UK across June and July, and they have teamed up with blood services to promote donations. The initiative marks the first time the band have collaborated with UK blood services, working with the Welsh Blood Service alongside NHS Blood and Transplant (NHSBT) and the Scottish National Blood Transfusion Service.
A spokesperson for the band says: “Wherever we go on tour, we want to give something meaningful back to the communities that welcome us. We’ve seen in the United States and Australia how working with blood services can help raise awareness of blood donation and support patients, and we’re excited to bring that same approach to the UK.”
“As we close out the European leg of the ‘M72 World Tour’ in the UK, we’re asking fans to step up and be part of something bigger than the show. Looking out for one another and supporting those who rely on donated blood every day is a simple act that can make a powerful difference.”
The post “We got a cake delivered by James Hetfield”: Architects’ Sam Carter explains why Metallica are one of the kindest bands he’s toured with appeared first on Guitar.com | All Things Guitar.
May 2026 Teaching Artist Lesson Recap
Martin Super D-18 review: it’s hard to fully explain how much fun this guitar is
$3,399 / £3,399, martinguitar.com
In the guitar world we’re pretty used to seeing brands throw around all sorts of impressive-sounding adjectives to give their products added kudos – ultra, professional, max, deluxe and perhaps most commonly of all, ‘super’.
Typically, those words are mainly there to catch our attention and signal that the thing in question is likely to cost a fair bit more than the original version, but now and then these modifiers are well-earned.
Take for example, the new for 2026 addition to Martin’s USA-made Standard series, the Super Dreadnought. This isn’t some sort of way of upselling you on some fancy new technology or a bunch of extra pearl – it’s a way of telling you that this is, quite literally, the biggest single-necked guitar Martin currently makes.
The Super D has been around for a few years now as part of the Custom Shop line-up, and has found a few famous fans along the way – notably Jason Isbell. But is bigger necessarily better? Well, there’s only one way to find out…
Image: Press
Martin Super D-18 – what is it?
Well, as the name suggests, it’s a dreadnought, but bigger! The dreadnought, famously, is about as big as most of us are used to seeing an acoustic guitar – but the Super doesn’t make it a little bit bigger.
The whole thing is roughly 13 per cent bigger overall, and has a monster 20 per cent more internal air volume (the ‘lungs’ of an acoustic instrument) than a regular Martin dread’. It does this by being around an inch wider than one (16.375 inches instead of 15.625 inches) and having a deeper body to boot.
The nut width, interestingly, is also a little bit wider than on a traditional acoustic too – it’s around 1.75 inches compared to the 1.68 inches you’d usually find on a Martin dreadnought. Otherwise, it’s every inch the classic Nazareth-made Martin guitar – spruce top, mahogany back, sides and neck, and an ebony bridge and fingerboard.
The idea that you’d ever need to plug this beast in seems rather fanciful, and so perhaps it’s unsurprising that Martin would spec this without any onboard electronics – just dig in and let this thing shout!
Image: Press
Martin Super D-18 – build quality and playability
You expect a certain level of fit and finish with Martin’s Standard series, and upon removing this guitar from its oversized hard case, it looks every bit the classic Nazareth 14-fret dread, just a bit bigger.
In truth, the extra body width serves to make the guitar look more balanced in the flesh. When you hear the specs, you half wonder if you’re going to end up playing something that’s more like a Mexican guitarrón than a traditional flat-top, but from a distance on a stand, it’s only the neck and headstock that hint that this is a bigger guitar than you might be used to.
Up close, there is an element of the minivan to it – this is a large guitar even by dreadnought standards, and that certainly won’t be to everyone’s taste. Happily, when you play it you don’t notice the difference too much – it’s there of course, but not so much that you feel like a little kid playing his dad’s guitar.
Combined with that wider nut-width, the neck is a little bigger than I’m used to feeling with modern Martins – it feels more like the pre-1960s necks the company used to make, and probably confirms my suspicions that it intends this primarily as a big, booming strummer first and foremost.
Despite the extra size, it’s comfortable playing for long periods both seated and standing, and I didn’t notice anything digging into me more than usual after a long playing session.
Image: Press
Martin Super D-18 – sounds
I’ve played an awful lot of acoustic guitars in my time – and a lot of Martin dreadnoughts with it – but even so, strumming the Super D-18 for the first time was an experience. Such is the power and projection on tap, it almost overwhelms you with how much bass response is available – and this isn’t boomy or baritone-like, it has all the same low-end frequencies you’d expect from a regular dreadnought, but much louder and fuller than I’m used to.
It also gives chords better definition than I was expecting – and I really noticed that the high B and E strings cut through much louder. There is a bit of a trade-off to this, as when you’re really strumming and digging in the D and G strings can get a little lost, but if you back off a touch it’s all much more balanced, but with that same definition.
I realised that while the temptation is to play this thing as loud as you can, part of the reason for this extra power is to enable you to play a little softer and more evenly, and still get all the volume, punch and power you’d expect.
It’s also a guitar that responds very well to fingerstyle picking, and plucking the bass notes with your thumb truly makes this guitar sing. I can honestly say that I’ve never heard or played another acoustic guitar that sounds like this, offering such force and power without dominating every frequency.
That being said, good gracious it’s loud – it might look like something a soccer mom would use to ferry the kids around, but inside roars the motor of a big block Corvette. If you take the Super D-18 to a party, jam session or open-mic night, make sure you bring a soundhole plug or you might be asked to leave – that’s how strident and domineering this thing can be if you’re not careful.
Martin Super D-18 – should I buy one?
There are plenty of people who will take one look at the Super D-18 and wonder why Martin even bothered – after all, the Martin dreadnought is about as close to sonic perfection as it gets for an acoustic guitar.
And you’re not wrong, but what’s the harm in adding another fun club into the bag? If you’re a player who gravitates toward bigger, fuller, unique and alternative stringed instruments, like me, then this is a wonderfully interesting and enjoyable experience.
Purists might not appreciate this model as it is taking a proven historical shape guitar and altering the size, bracing and neck size, but if we’re going to keep moving the acoustic guitar forward, we have to try these things!
It’s hard to fully explain how much fun this guitar is, the physical experience of this thing rattling your ribs and bouncing off the walls is something that you really have to be in the room to experience. And once you have, you might never want to go back to that teeny ol’ dreadnought again.
Martin Super D-18 – alternatives
Martin’s D-18 Standard ($2,999 / £3,149) is plenty of power and projection for most people. If you want an alternative big body that isn’t quite as big, the Gibson SJ-200 Standard ($5,699 / £5,499) is a whole lot of spruce and maple, while Taylor’s Gold Label 517e ($2,799 / £2,549) is a bigger than average flat-top from the brand’s more retro-focused range.
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British 45-Watt Amps For TONEX
Luthier on Luthier: Thierry Andre
Working out of his solo shop in Quebec, Thierry André is a builder of truly one-of-a-kind instruments.
For episode 114 of the podcast, Thierry dives into his design process and explains why he believes every instrument should include an element of danger and surprise. We also talk about his formative time apprenticing with Fred Carlson and much more.
GoFundMe to help Thierry Andre beat cancer: https://www.gofundme.com/f/help-thierry-andre-beat-cancer
Links: https://www.thierryandre.com
https://www.instagram.com/thierryandre.studio/
Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by the Looth Group, Dream Guitars and StewMac.
Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.
The post Luthier on Luthier: Thierry Andre first appeared on Fretboard Journal.
“Stripped-back, resonant and full of attitude”: Heritage expands its Standard II Collection with the single-pickup H-137
Heritage Guitars has expanded its American-crafted Standard II Collection with a new, straight-talking, single-pickup solidbody electric guitar, the H-137.
Crafted at the iconic 225 Parsons Street factory in Kalamazoo, Michigan, the new Standard II Collection H-137 sports a mahogany body and neck with a rosewood fingerboard, plus a single-pickup configuration which maximises wood mass for enhanced resonance.
The pickup in that bridge position is a Heritage Custom Shop 225 Standard Humbucker, built with a 2.5” rough-cast Alnico 5 magnet with no cover, offering up “articulate cleans and a more open, punchy, and dynamically responsive overdrive”, the brand says.
This pickup boasts a wide tonal palette, with versatile wiring providing series/parallel switching via a push/pull tone pot.
Credit: Heritage Guitars
Elsewhere, the guitar features a slim, comfortable ‘60s neck profile inspired by the feel of vintage guitars, plus a headstock veneer featuring the Heritage logo for an elevated experience.
“We’ve been incredibly inspired and encouraged by the response to the new Standard II Collection,” says Gerald Hooper, AVP of Channel Sales at Heritage.
Credit: Heritage Guitars
“The Custom Shop Core Collection is really the best of what we build at 225 Parsons Street, guitars that reflect the craftsmanship and character Heritage is known for.
“With the Standard II Collection, we wanted to make a few thoughtful updates for modern players while staying true to our American-made craftsmanship. The new H-137 is a great example of that approach. It is stripped back, resonant, full of attitude, and built to let the work we do at 225 Parsons Street speak for itself.”
Price-wise, the Standard II Collection H-137 clocks in at $1,899, and is available in Ebony and 3-Tone Sunburst via Heritage Guitars and from select authorised Heritage dealers.
Learn more at Heritage Guitars.
The Heritage Guitars Standard II Collection. Credit: Heritage Guitars
The post “Stripped-back, resonant and full of attitude”: Heritage expands its Standard II Collection with the single-pickup H-137 appeared first on Guitar.com | All Things Guitar.
“Leo Fender was a technician who admired function and ease of manufacturing; he was not an artist”: LSL Instruments and Fender trade barbs in legal letters
Last week, shockwaves were sent through the guitar industry when it was claimed that a German law firm working on behalf of Fender had sent cease and desist letters to other builders demanding they stop making Stratocaster-style guitars.
At the forefront of the discussion has been US boutique maker LsL Instruments, the only brand to have currently gone public to confirm it has allegedly received the letter from Fender’s lawyers.
LsL publicly pledged to resist Fender’s alleged attempt to make them stop producing Strat-bodied guitars, and now Guitar.com has seen what is claimed to be the brand’s formal response to Fender’s lawyers, and also a letter that appears to be a response from them.
The letters – which have been widely reported online – appear to firmly lay out both sides of this alleged argument, and offer some wider context for what might happen next.
What kicked all this off?
The Standard has Fender’s modern Strat wiring, meaning the second tone control is for the bridge pickup (Photo: Adam Gasson/Guitar.com)
If the original Fender cease and desist letter is legitimate, this chain of events was started when Fender won a default ruling against Chinese-based company Yiwu Philharmonic Musical Instruments Co in the Düsseldorf Regional Court in Germany.
The win was significant because it defined under EU law that the Stratocaster body shape was not simply a trademark, but a “copyrighted work of applied art”, that could be policed like any other copyright.
The default judgement – which came after Yiwu failed to turn up to court – only covers guitars made or sold in the EU, but given that LsL is a US-based brand, the alleged C&D would imply that Fender is attempting to enforce the ruling on any maker that sells instruments inside the European Union.
The letter, which Guitar.com has been unable to independently verify as legitimate, demanded that LsL stopped producing Strat-bodied guitars, to hand over sales data regarding these instruments, to recall and destroy any infringing instruments, and pay damages. The letter also offered concessions on some of these points if the recipient agreed to stop making the guitars.
What’s happened now?
Image: Adam Gasson for Guitar.com
LsL was the only company to publicly claim they’d received the letter, and in a statement to Guitar.com as well as posts on a blog, they vowed to fight back against Fender’s alleged attempt to enforce this ruling, and set up a GoFundMe to help with legal costs.
On Tuesday, (26 May) LsL Instruments issued a scathing and in-depth riposte to Fender’s alleged letter – refuting both the substance of Fender’s claims, as well as the legitimacy of their actions.
Notably, the letter was authored by Ron Bienstock – the US lawyer who has been involved in numerous guitar industry trademark cases over the years, most notably representing the consortium of brands that successfully lobbied against Fender’s attempt to trademark the Strat, Tele and P-Bass body shapes in 2009.
Furthermore, Guitar.com has now also seen a copy of a letter allegedly from Fender’s lawyers – now reported extensively online – that pushes back on much of what Bienstock wrote in his 16-page response.
What does LsL’s letter claim?
Bienstock’s response on behalf of LsL is as detailed as you’d expect from someone who has huge experience litigating trademark cases in the music industry – and especially his experience of successfully arguing for the generic nature of the Strat, Tele and P-Bass body shapes 17 years ago.
A core plank of Bienstock’s argument is that the default ruling against Yiwu Philharmonic in the Düsseldorf Regional Court does not bind LsL, which is based in California and as such is not directly subject to German law.
The letter also claims that in order to secure the default judgement, Fender “misrepresented” the history of the Stratocaster’s design to the court, and the role that Leo Fender played in the creation of the instrument.
The letter alleges that Fender “invented” the story that Leo Fender was the “sole author” of the Stratocaster design, and that “there were at least four additional collaborators in the design”. Furthermore, the letter alleges that Leo Fender’s famously utilitarian and practical approach to functional design means that the guitar can’t be considered a work of applied art.
“This collaboration is well-documented, as is Leo Fender’s infamous attention to function, manufacturability, and repairability, but not aesthetic design,” the letter goes on. “FMIC’s own Justin Norvell, President, Americas, has even acknowledged Leo Fender’s now infamous quote, ‘If I have $100 to make a product, I’ll spend $99 making it work and $1 making it pretty.’”
As such, LsL asserts that Leo Fender was “a technician who admired function and ease of manufacturing; he was not an artist.” Because of this, plus the fact the Stratocaster had meaningful design contributions from “Fred Tavares, Bill Carson, Rex Gallion and George Fullerton, among others”, LsL says “the facts do not fit the necessary narrative to achieve [Fender’s] goal of obtaining a copyright for a portion of a guitar in any jurisdiction”.
Bienstock also alleges that Fender was negligent in policing its own trademarks for decades, leading to many other brands to utilise and evolve the design.
“Regardless of whether [Fender] ever gained intellectual property rights to the Strat body shape,” Bienstock asserts. “It certainly cannot now claim after the reproduction, distribution and communication to the public by hundreds of guitar companies by their use of that same body shape for over 70 years that any exclusivity can be had as to the alleged “applied art” of the Strat body shape,” it says.
“[Fender] has forfeited its claims of ownership of any intellectual property rights via express abandonment, acquiescence, and passivity.”
He also claims that other brands have played a big part in making the Strat an iconic design – noting the use of the shape on non-Fender guitars being used by legendary artists. It also notes that after he sold Fender and its designs to CBS, Leo Fender himself continued to make instruments using the Strat body at Music Man and G&L.
“Competitive guitars were ubiquitously displayed on television, in movies, on the internet and were being played by some of the most influential musicians of all time, such as Eddie Van Halen, who played a Charvel Strat-style guitar and later a Kramer Strat-style guitar. Thus, the Strat shape grew in popularity among the general buying public,” Bienstock claims.
What has Fender said in response?
Image: Adam Gasson
For the first time since this story broke a week ago, Fender has publicly acknowledged the situation. In a statement to Guitar World, the brand’s position and ultimate goal in this case has been clarified.
“Fender fully supports innovation and competition across the guitar industry, including such guitars with two horns and/or double cutaways,” the statement reads.
“Fender’s goal is simply to protect one of the company’s most iconic and recognisable designs while continuing to support a vibrant and innovative guitar industry.”
Separately, Guitar.com has also obtained a response letter that appears to be from Fender’s lawyers to LsL’s most recent communication.
Unsurprisingly perhaps, the letter disagrees that Fender misled the Düsseldorf court regarding the history of the Strat, noting that they, “took great care in making sure that all our factual representations in our action were accurate”.
“The Court of Düsseldorf then formed its view on whether the Stratocaster qualifies as a ‘work of applied art’ under the circumstances put forward by us in our action. The panel which handed down this judgement is probably the most experienced panel in questions of ‘works of applied art’ in Germany at the moment, and arguably also in all of Europe.”
While defending the legitimacy and robustness of the ruling and their right to seek to enforce this on LsL and other brands, the letter appears to also lay out the detail of what Fender allegedly wants these builders to do in order to stave off further legal action.
“All that is required and expected from third-party manufacturers of Stratocaster clones is that they change the design of their electric guitars sufficiently so that they do not look like more or less exact copies of the Stratocaster anymore,” it reads.
“We think that this should be acceptable for everyone, as it should not impair the quality of their instruments, but would only require relatively minor design changes.”
Perhaps the most interesting and potentially impactful part of the alleged letter is a claim that while LsL have obviously taken the route of loudly and publicly pushing back against the apparent cease and desist letter, other brands have taken another route.
“Many of the addressees of that initial communication have reached out to us in the meantime, often via their German lawyers, and have entered into reasonable settlement discussions on the premise that they will discontinue making and/or selling the “Stratocaster” clones,” it reads. “This proves that there is not a unanimous refusal from all third parties, but indeed also a great deal of understanding for our client, which however of course is not covered in the media, on social media and in the discussions between the various makers.”
So what happens next?
In the alleged response from Fender’s lawyers, it is claimed that the company has extended the deadline for brands to agree to its terms to 8 June 2026.
Judging by the content of their initial response, it doesn’t seem like LsL is inclined to settle any time soon:
“We hereby demand that you withdraw the entirety of your claims as stated in Your Letter,” Bienstock writes. “Our client has every right to continue to sell its guitars with Strat-style guitar bodies, whenever and wherever it so chooses, as does the entire MI industry on a worldwide basis.
“Efforts by Your Client to bully competitors based on misrepresentations and overstatements are anti-competitive. If Your Client continues to pursue these matters, Our Client will, of course, seek all available remedies, including all attorneys’ fees and costs.”
Fender declined to comment further on this case when Guitar.com reached out.
The post “Leo Fender was a technician who admired function and ease of manufacturing; he was not an artist”: LSL Instruments and Fender trade barbs in legal letters appeared first on Guitar.com | All Things Guitar.
Mesa/Boogie launches new video series exploring the history of the legendary amp brand
Mesa/Boogie has launched What Makes a Boogie, a new video series exploring the “story, spirit and craftsmanship” of the iconic guitar amp brand.
“For more than 40 years, every MESA/Boogie amplifier and cabinet has been handcrafted in Petaluma, California, where the company has operated since 1980,” the brand says.
“This commitment to craft remains central to the brand’s identity and will be celebrated throughout the What Makes a Boogie series, which highlights MESA/Boogie’s most iconic products and its ongoing design leadership.”
The first episode in the series – available to watch now on YouTube – is titled History & Legacy, and features a rare and historical interview with Doug West, 43-year Mesa/Boogie veteran and Director of its Tone Lab.
“Drawing on decades of first-hand experience, West traces the company’s journey from its late-1960s experimental roots to the groundbreaking amplifier designs that helped define the modern electric guitar sound – all crafted in Petaluma, California,” the brand writes.
“This opening episode offers a compelling, insider perspective on the brand’s evolution and enduring influence.”
The first episode in the series also illuminates Mesa/Boogie’s “culture of experimentation, originality and tone-first thinking”.
You can watch the first episode of the What Makes a Boogie series, History & Legacy, below:
“More than a retrospective, What Makes a Boogie looks ahead – showing how the brand’s next chapter is being shaped by the team that has carried its standards forward for decades, many of whom have worked at the company for over 30+ years,” the company goes on.
“The series celebrates the people and ideas behind Mesa/Boogie’s legacy while spotlighting the innovation and craftsmanship that continue to inspire musicians worldwide.”
Mesa/Boogie is the guitar brand behind some of the most iconic guitar amps in history, and has particularly found a home in the world of rock and metal. The Dual Rectifier, for example, introduced in the early ‘90s, quickly became one of the most defining high-gain amps of its era, and was adopted by legions of high-profile rock and metal players.
The post Mesa/Boogie launches new video series exploring the history of the legendary amp brand appeared first on Guitar.com | All Things Guitar.
Cort expands its Core Series acoustic guitar lineup with fresh tonewood options and stage-ready electronics
Cort has expanded its Core Series acoustic guitar lineup with two new models that combine all-solid construction and stage-ready electronics in a streamlined, performance-focused platform.
Featuring semi-gloss, UV-cured finishes and a selection of exotic tonewoods, the expanded range introduces the new Core-GA Formosan koa and Core-OC Maple alongside the previously released Core-MC Ovangkol.
At the heart of the Core Series is an all-solid construction paired with hand-scalloped X-bracing and a dovetail neck joint at the 14th fret.
The new Core-GA Formosan koa pairs a solid spruce top with solid Formosan koa (Acacia Confusa) back and sides, delivering warm response and harmonic depth along with the resonance of a fully solid body. The guitar also features a mahogany neck with a Comfort C profile, paired with a 15.75” radius rosewood fingerboard and a 25.5” scale length.
The Core-OC Maple, meanwhile, pairs a solid spruce top with solid sycamore maple back and sides, delivering a bright, articulate voice with strong projection and dynamic response. Other key features include a hard maple neck with a Comfort C profile, a matching rosewood fingerboard, along with a 25.5” scale length.
Credit: Cort
Both models feature 20 frets and genuine bone nuts, with widths of 1 3/4” (45mm) on the GA and 1 11/16” (43mm) on the OM. Shared appointments include rosewood bridges, vintage open-gear tuning machines for smooth and precise operation, plus aged white ABS binding and black-and-aged white ABS rosettes. Venetian cutaways also enhance upper fret access on applicable models.
Designed for both studio and stage use, all Core Series models come equipped with Fishman Presys VT electronics that give a “clean acoustic signal”, alongside discreet side-mounted controls for volume and tone.
Each guitar is also finished with an ultra-thin “sonically enhanced UV finish” designed to preserve resonance while adding a vintage-inspired burst aesthetic.
Cort says the specifications are designed to “balance comfort and precision across different playing styles”, with neck construction and playability tailored to each model while maintaining a consistent overall feel.
Each guitar ships strung with Elixir Phosphor Bronze Nanoweb Light strings (12–53) and includes a Cort gig bag.
The Cort Core Series acoustic guitars are available now, with the Core-GA Formosan koa priced at €739, the Core-OC Maple at €729, and the original Core-MC Ovangkol at €759.
For more information, visit Cort.
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