General Interest

There's juicy price cuts on everything from Fender to Gibson, PRS to Sterling By Music Man, Positive Grid and more in these massive Labor Day weekend sales

Some record exec told Flynn that he'd only last five years, but 30 years on he's still at it, reinventing Machine Head with a new lead guitarist, writing songs to those dark nights of the soul

The long-awaited return of the oddball Duo-Sonic heads up Squier's Class of 2025 Classic Vibe family and largely exceeds all expectations

Khruangbin’s Mark Speer and Laura Lee Ochoa are the first bandmates to get a signature Fender guitar and bass at the same time

$3,599/£3,799, martinguitar.com

How many times have we been told that the Dreadnought acoustic guitar was originally created for country stars, folkies and singing cowboys? Chris Martin IV himself is at pains to put this misconception to bed because – as he explained to me in a recent conversation for the Martin Journal – everything actually started in Hawaii.

• READ MORE: Furch Pioneer MM Review: “the biggest compliment that you can give to a travel guitar is that it doesn’t feel like one”

The resonator guitar, lap steel and even the earliest electric guitars were created for Hawaiian music – the first dreadnoughts made by Martin under the Ditson brand name were no exception. So why don’t we talk about it more?

Image: Adam Gasson

Martin O’ahu HG-28 – what is it?

This new Martin guitar – named the O’ahu HG-28 – is a Hawaiian koa and spruce beauty designed to go some way towards correcting that imbalance. As well as being the first guitar from Martin’s new O’ahu sub-brand, it also celebrates the significant impact that the tiny Hawaiian archipelago has had on popular music since the explosion in popularity that followed the 1915 Panama-Pacific International Exposition. After this World’s Fair event was held in San Francisco, suddenly aloha shirts, ukuleles and slack key tuned guitars were popping up everywhere.

This particular guitar would not exist without a surreal moment of serendipity when Chris Martin IV found an unusual instrument in an online auction and couldn’t resist giving it a home.

The guitar in question was one of the more improbable Gibson models of the time – the HG-2O which featured among its bizarre specs, an internal resonating chamber and additional F-holes in both the upper and lower bouts. Utterly bonkers and ultimately an evolutionary dead end for the flat-top acoustic.

But when CFMIV checked out his new vintage purchase – complete with a soundboard that had all but collapsed over the years – he realised that the guitar was essentially a round- shouldered dreadnought for Hawaiian music.

It set Chris to imagining what a similar Martin guitar might look like – an evolutionary missing link between those original Ditson dreadnoughts and the all-conquering Martin models that would come along in the 30s. This was the spark of inspiration that led – after much research and development – to the O’ahu HG-28 I am now holding in my hands.

Image: Adam Gasson

But the HG-28 is more than just an interesting alternative history lesson – it has plenty of intriguing qualities on its own merits for those who maybe don’t quite get on with Martin’s most famous and influential design.

Despite the majestic power that typifies its voice, some will tell you – with a straight face! – that the traditional Martin dreadnought design is too boomy. The body is too big, it is uncomfortable, they will claim.

Well, thanks to the HG-28, dreadnought-curious players can now enjoy a more ergonomically svelte experience. The gently slope-shouldered body is no deeper than a Martin 000 and feels good when seated. The guitar is built around a shorter 24.9” scale length too which promises added warmth and intimacy if that’s what you’re looking for.

Koa is an interesting wood – it was a traditional choice for ukuleles (it only grows in Hawaii after all) – and Martin pioneered its use for acoustic guitars in the 1920s. Nowadays it’s often seen as an attractive, if pricey, alternative to rosewood or mahogany – one that has seen heavy use in recent years by Martin’s great modern rival, Taylor.

Koa is loved for its beautiful figure and timbral properties that mean it pairs very well with good spruce. As luck would have it the lid of this box is made from a slice of pale Sitka – a classic choice that looks striking against the top’s herringbone purfling and cream binding.

Some might raise eyebrows at a £3.5k guitar shipping without a hard case, but the softshell gigbag included still feels very premium with generous padding, a robust neck support and a rather fetching woven fawn-coloured outer covering.

Image: Adam Gasson

Martin O’ahu HG-28 – feel and sounds

Pulling the HG-28 out of said gigbag, and it’s instantly a very welcoming experience. The neck features Martin’s Low Oval High Performance Taper and is made from what Martin frustratingly vaguely describes as ‘Select Hardwood’. In this case it certainly looks like something mahogany-coded with some spectacular grain accentuated with dark pore filler. It’s an immediately comfortable squeeze – fast and familiar. The 1.75” nut width offers enough room for fingerstyle too.

While a short-scale slope-shoulder dreadnought could feel very like a Gibson J-45, the whole vibe of the O’ahu HG-28 is reassuringly Martin from the arm position on the lower bout to the balance point at the waist. Time to make some noise!

I honestly hadn’t planned to stay in standard EADGBE for very long with this guitar – I was extremely keen to get involved with some of the naughtier slack key tunings I’ve encountered over the years. However this is actually a very workable little dreadnought in missionary tuning and it could prove a useful alternative to a D-18 or D-28 – especially in the studio.

With bare fingers the HG-28 has a sweet voice – Martin supply the guitar with uncoated strings so there is an element of extraneous string noise, but the koa back and sides are more forgiving than a rosewood instrument might be.

Taking a medium flatpick to the guitar certainly wakes it up. The bass response – though definitely present – is not quite the full 25.4” scale bark of a D-28 but there is more than enough punch for a convincing G-run and the trebles are smooth and balanced all the way up the fretboard.

Easing the O’ahu HG-28 into DADGAD reveals a woody, fundamental quality to the voice – this helps prevent the sympathetic resonances typical of that tuning from getting muddy or indistinct and the short scale makes wider vibrato and bends a genuine pleasure.

The guitar has played a fascinating role in the history of Hawaiian music and kī hōʻalu or slack key playing is at the heart of it. Taro Patch tuning – known to the rest of the world as Open G – reveals a lot about the character of this instrument – that koa shimmer across the shorter scale length, the slightly metallic transient to the note that is so typical of sitka spruce. These are subtleties but there is no denying that this is an instrument with its own distinct personality.

Image: Adam Gasson

Martin O’ahu HG-28 – should I buy one?

With the new O’ahu HG-28 Martin has a very interesting proposition on its hands. Whether you’re into the Hawaiian vibe or not – where else are you going to find a koa slope-shoulder short scale dread at this price point?

It is evident that a lot of thought has gone into this instrument – but more than that – the O’ahu HG28 represents an acknowledgement of the role of Hawaiian culture in modern popular music. There is a beautiful Hawaiian concept of ‘pono’ – the word means righteous, balanced, good. From beautifully figured koa to the palm trees on the label and the correct reverse apostrophe in O’ahu this is a very pono guitar.

Image: Adam Gasson

Martin O’ahu HG-28 – alternatives

The HG-28 is very much doing its own thing in terms of design and sound, but there are some fine koa-based acoustics out there that show off this fine wood for various budgets. Taylor’s Academy 10e LTD ($999) is a Mexico-made dreadnought that apes the HG’s blend of spruce top with a Hawaiian koa back and sides. Dana Bourgeois is one of the world’s finest acoustic luthiers and his transnational Touchstone series brings his wares to slightly more accessible price points. The limited edition Hawaiian Country Boy D ($3,149) utilises koa back and sides with a spruce top tuned and selected in Main. If money’s no object and you really want to go all out, Turnstone’s TD Koa and Sitka (from £8,500) is pretty much as good as it gets.

The post Martin O’ahu HG-28 review: “this is an instrument with its own distinct personality” appeared first on Guitar.com | All Things Guitar.

Sponsored by Taylor Guitars: When Taylor Guitars introduced the 914ce in 1996, it set a new high-water mark for visual detail and tonal sophistication. Designed by Bob Taylor, the original model debuted with Indian rosewood, Engelmann spruce and the now-iconic Cindy inlay—an intricate motif featuring green abalone and mother-of-pearl, first designed for Bob’s wife.   Fast-forward to […]

IK Multimedia releases the ENGL Ampthology Volume 1 Signature Collection

A major upgrade in accuracy and performance for the TONEX ecosystem

FREE for all TONEX users, the standalone modeler adds batch processing, improves accuracy, increases reliability, and offers dramatically faster training times.

IK Multimedia is proud to announce the launch of the new TONEX Modeler, a FREE update for all paid versions of TONEX, available today through the IK Product Manager as TONEX 1.10.0.

Smarter. Faster. Perfect Tone.
Developed by IK's dedicated TONEX team, TONEX Modeler offers a variety of requested improvements and works seamlessly with TONEX software, ToneNET, and TONEX hardware, whether for capturing and creating Tone Models or performing live with more accurate and expressive Tone Models.

TONEX Modeler Overview

• Faster Training: Up to 87% quicker on modern GPUs and Apple Silicon Macs, with training times as short as 2 minutes.
• Extreme Tone Accuracy: Ultra-dynamic with harmonic clarity for high-gain amps.
• Batch Processing: Capture multiple rigs in a single session, then train later, even on another machine.
• Time-Saving Workflow: TONEX Modeler automatically stops training once the ideal results are achieved.
• Phase-Perfect Captures: Stereo rigs and DI blends remain perfectly aligned, essential for live performance.
• Ultra-Low Latency: Play with a natural, responsive feel both in the studio and on stage.
• Portable & Organized: Archive, export, and transfer captures easily across devices.
• Seamless TONEX Integration: Instantly load new models into TONEX and TONEX Editor.

Professional, Unmatched Results
Every Tone Model produced by TONEX Modeler is phase-perfect and features ultra-low latency, ensuring that stereo rigs and bass DI blends sound flawless without requiring additional tweaks. The new capture engine also excels with high-gain tones, delivering tighter lows, richer harmonics, and crystal-clear definition-perfect for modern guitarists and producers who demand mix-ready sound straight from the capture.

Batch Processing for Power Users
TONEX Modeler's batch processing removes guesswork, saves time, and lets users capture once and process anytime, with the heavy lifting done automatically. Designed for today's creators, it works smoothly with NVIDIA GPUs and Apple Silicon Macs, providing faster and more reliable performance. Its smart workflow even stops training early once peak quality is reached, so there's less waiting and more creating.

Tone Partners Onboard
TONEX Tone Partners are experts whose feedback was crucial in developing the new TONEX Modeler. They received early access, and today IK is excited to share the results of this collaboration. Fifty-six new Tone Partner collections and bundles are now available on ToneNET for demo and purchase, showcasing the sonic enhancements of the new TONEX Modeler and providing over 1,140 new Premium Tone Models of sought-after rigs to explore.

Pricing and Availability
The TONEX Modeler is now available through the IK Product Manager as a FREE update for all paid versions of TONEX, including TONEX SE.

TONEX Tone Partner Collections, created with the new TONEX Modeler, are now available for demo and purchase through ToneNET and in any version of TONEX for Mac/PC, starting at just $/€9.99* with Tone Partner bundles beginning at $/€39.99.

In this video, PG Contributor Tom Butwin breaks down the fundamentals of mic'ing acoustic, electric, and bass guitars. Learn the best microphone placements to capture the perfect tone, whether you're looking for a bright, aggressive sound or a warm, vintage vibe.

Perched on Houston Street, the unofficial border between Manhattan’s East Village and Lower East Side, the Mercury Lounge is a venerable New York City music room with a top-notch sound system. It’s also quite small. Two hundred and fifty people max would be a generous capacity estimate, and the club’s bookings, fittingly, tend toward the alternative and the fringe. So it’s not the first place you’d expect to see a celebrated bluegrass acoustic guitar virtuosa and two-time Grammy winner. But on this extra-warm evening in late June, Molly Tuttle is specializing in the unexpected.

- YouTube

The four musicians weaving through the shoulder-to-shoulder crowd ahead of Tuttle to the Mercury stage are the night’s next surprise, for more than one reason. For starters, they’re not Golden Highway, the group with which she won those Grammys (for Best Bluegrass Album, in 2022 and 2024). Secondly, they’re all female. The appealingly afro’d Megan Jane is a stone-solid drummer. Vanessa McGowan switches off between electric and acoustic upright bass. Mair Mulroney deftly handles fiddle, mandolin and keyboards. Close-cropped Ellen Angelico lets it rip on electric guitar and lap steel. “This is only the fourth show we’ve played together,” Tuttle announces from the stage, clutching the signature dreadnought that Martin built for her last year. “And the first three were festival-type things, so this is the first show that really feels like ours.”

The music they play, much of it from Tuttle’s new album, So Long Little Miss Sunshine, is surprise number three. Bouncy, breezy songs like “The Highway Knows” and “That’s Gonna Leave a Mark” are, in short, not bluegrass, though they abound with nods to both modern and traditional country. You wouldn’t be wrong to call this pop music, yet it’s pop of an exceptionally tuneful, intelligent and tastefully arranged order. And unlike the work of pretty much any other contemporary pop artist, it leaves plenty of room for the acoustic guitar as a lead instrument. Because while the stylistic trappings and the supporting players have changed, one thing hasn’t: Tuttle is still cross-picking up a storm, exclusively on the kinds of axes that have big sound holes and wound G strings. At least for now.

“Maybe on the next album,” 32-year-old Tuttle says with a laugh earlier that same day, in a mercifully air-conditioned record company conference room, when asked about the chances of her ever going electric. Right now she’s still happy to explore her usual instrument in a new context. “You know, you think of bluegrass as featuring the flatpicked guitar more than any other style. But strangely enough, I play so much more guitar on this album than I ever have on one of my records. That was really fun for me, and it pushed me as a player. It was like, how do we keep this interesting when I’m gonna be the only soloist on the whole record?”

“This is my fifth record,” Tuttle says of So Long Little Miss Sunshine, “which is crazy. It doesn’t feel like it is. But looking at all five of them together, this one is definitely more in the vein of my first record [2019’s When You’re Ready] and the cover record. And then for the last two”—the Grammy winners, Crooked Tree (2022) and City of Gold (2023)—“I consciously wanted to make these bluegrass records to honor my family roots in that music. My grandfather played the banjo and passed down the music to my dad, who taught me how to play, and it just felt like this important thing for me to do. I know that I’ll always want to play that music, and I’m sure I’ll make more bluegrass records and tour with bluegrass bands again. But at the same time, this album feels like it’s a bigger picture of who I am as an artist. It encapsulates more sides of my songwriting and playing and singing.”

“Strangely enough, I play so much more guitar on this album than I ever have on one of my records.”

So where does this leave Golden Highway? “It’s on hiatus,” Tuttle responds, “and I don’t know when we’ll play together again. But I certainly hope that we do. I think we were all ready to slow it down a bit. We’ve had so much fun over the past three years, but everyone knew that I was gonna want to do something different. Some of the band members expressed that they wanted to pursue their solo projects, and we’ve been touring at such a high intensity, it just felt like a natural stopping point. I don’t think anyone wanted to say this is the end, and I certainly don’t. We’re all still great friends, I see them around in Nashville, and I think when the time’s right, we’ll have an epic musical reunion.”

Molly Tuttle’s Gear

Road Guitars

Pre-War Guitars Co. Dreadnought (tuned EADGBD)

Martin Molly Tuttle signature model (D-28 style, tuned DADGAD)

Studio and Home Guitars

1943 Martin D-18

Pre-War Herringbone and Double Aught

Preston Thompson D-BA

Preston Thompson Molly Tuttle Signature

Pickups

K&K Double Helix, blended with internally mounted Shure microphone

K&K Pure Mini

L.R. Baggs HiFi Duet

Grace Design FELiX preamp

Strings, Picks & Capos

D’Addario EJ12 80/20 Bronze strings, medium gauge (.013-.056)

Dunlop Jazztone 208 picks

Shubb and Elliott capos

As for the new band, Tuttle claims that the lack of Y chromosomes in its lineup wasn’t pre-planned. “I reached out first to Vanessa, who’s playing bass, and then she connected me with the rest of the band. I’d already toured with Megan, the drummer, in 2021, and we did some pandemic livestreams together. But we didn’t mean to make it all-female. Being a woman in the music industry, you never want to feel like you’re being asked for a gig just because you’re a woman. But when you get together organically, as we did, it’s like, yay, this is pretty fun.” That sense of high spirits is evident at the Mercury Lounge, as Tuttle’s bandmates prove equally adept at both the poppier new material and Golden Highway nuggets like “Alice in the Bluegrass” and “Over the Line.”

“I’m sure I’ll make more bluegrass records and tour with bluegrass bands again.”

Tuttle may not have played any of the electric guitar parts on So Long Little Miss Sunshine (those were handled by Joyce), but in the absence of Golden Highway in the studio, she did make another notable recorded debut: playing her grandfather’s banjo. “I always had a banjo player before,” she explains, “but all of a sudden I had to be my own banjo player. And that was a conscious decision—we still wanted to have banjo [on the album]. That way you see how it connects to my previous work; even as we’re moving into new areas, we tie it back to the roots.”

Beyond serving as a timbral bridge from one Tuttle era to another, the banjo also combines with her acoustic to create alluring textures on the album’s final two songs, “No Regrets” and “Story of My So-Called Life.”

In the latter composition, an exercise in elliptical autobiography, Tuttle gives a shout-out to the Orange Line, a branch of the Boston subway system that she rode almost every day she lived there. Even though she’s been a Nashville resident for years, the time she spent in Massachusetts’ capital as a student was clearly pivotal. “I learned so much at Berklee,” Tuttle recalls. “I knew no music theory before I went there. I’d never read any music or tablature. I had such an aversion to all that. So when I got there, it was a big shock. But after about a year I really understood music more, and I could communicate better with other musicians. A lot of times, I was the only acoustic player in my guitar classes, which was kind of funny. But I learned to embrace that, even if it sometimes made me uncomfortable.”

Back at the Mercury Lounge, the surprises keep coming. Toward the end of the set, Tuttle and her band launch into another new tune, “Old Me (New Wig),” with rockabilly swagger. At a climactic moment, Tuttle dramatizes the song’s subtitle by reaching up and removing her carefully coiffed brown wig, revealing a smooth, white pate beneath. What feels on some level like a Sinéad O’Connor-style protest against the patriarchy is also a touching acceptance of reality: Tuttle’s natural hair stopped growing when she was a child due to an autoimmune condition called alopecia universalis. Fans have long known this, but for her to acknowledge it onstage so openly—and play the rest of the show wigless—is further evidence that Tuttle continues to embrace the uncomfortable.

For the last song of the evening, Tuttle plays what feels like her trump card: a radical reworking of Icona Pop and Charli XCX’s “I Love It.” That it’s in the set list isn’t one of tonight’s bigger surprises—it’s a highlight of her new album—but the decision to close with it is bold. Where the original is a snotty dance-punk anthem, Tuttle turns it into something else entirely: a bleak ballad, sung by a woman whose recent romantic breakup may have brought her to the end of her tether. In her hands and voice, a fun pop throwaway becomes strangely moving. It’s a powerful moment, hinting at even more to come.

“I always had a banjo player before, but all of a sudden I had to be my own banjo player.”

“I really liked doing my last two records, the bluegrass ones,” Tuttle says. “That felt so in my wheelhouse. I knew exactly what to do. This one took much longer to figure out: How do I put my own voice on the guitar into this new style of music? And a lot of the songs changed a ton from the way they were when I started writing them.”

She continues, “But now, having these new songs and this new style adds an element that I feel can make the live show bigger and reach more people, which is exciting. And the new band lineup is cool because we can still incorporate the bluegrass stuff too; everyone can play that. For me, it just feels good to branch out artistically.”

YouTube

Molly Tuttle stops into CBS’s Saturday Sessions to play her song “San Joaquin,” from 2023’s City of Gold.



For episode 105 of the Luthier on Luthier podcast, my guest is TJ Thompson — widely regarded as the foremost authority on vintage Martins and a master guitar maker in his own right. In our conversation, TJ reflects on why he builds guitars, why he sometimes feels unsuited to the work, and he shares thoughtful advice for fellow luthiers along the way.

https://proluthiertools.com

Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by 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: TJ Thompson first appeared on Fretboard Journal.

Squier reissues an oddity from Fender's bass archives, complete with a Wide Range humbucker – is this its time?

Sweetwater CEO Mike Clem recently stopped by the Know Your Gear podcast for a look inside how one of the largest music gear companies operates.

In the conversation, Clem talks about the ways Sweetwater listens to customers, employees, and the broader market when making decisions. He shares how the company responds to challenges in the industry, from supply chain issues to evolving technology, and how those challenges shape everyday operations.

Clem also touches on leadership and supporting employees in their roles, offering insight into how a large company keeps everyone moving in the same direction without losing sight of its culture. It’s a detailed look behind the scenes, full of takeaways for musicians, gear enthusiasts, and anyone curious about running a growing business in a competitive industry.

You check out the full interview above.

BOSS introduces the PX-1 Plugout FX, an innovative hardware platform that captures the timeless BOSS compact pedal experience in one versatile pedal.This convertible stompbox holds multiple authentic effect recreations from the historic BOSS effects lineup, providing endless fuel for every creative journey. Sixteen effects are included with purchase, and more can be added over time with the BOSS Effect Loader app for iOS and Android devices.

Since 1977, BOSS compact pedals have inspired generations of musicians around the world. Over 140 unique models have been produced, over 19 million units have been sold, and many have remained in non-stop production for decades. From vintage classics and go-to workhorses to rare and specialty effects, the PX-1 unlocks the diverse BOSS compact pedal range within a single stompbox.

Backed by newly developed BOSS algorithms, each effect in the PX-1 delivers the genuine sound and response of the pedal it’s based on. Every detail is modeled with stunning accuracy, thanks to a powerful DSP engine dedicated to recreating the sound of a single effect at a time. Users can dial in tones fast with the familiar BOSS knob interface, supported by an onboard display for current parameters and internal settings.

The PX-1 offers external control with one or two footswitches or an expression pedal. There’s a Swap function to switch between two effects, and nearly any parameter can be assigned for real-time expressive control while performing. Stereo I/O provides flexible connectivity and enhanced sound for models with stereo operation, while tap tempo and MIDI clock support are provided for time-based effects.

An Ever-Expanding Library

The PX-1 comes with 16 unique effects, including eight permanently installed “1” models and eight that can be loaded into the pedal’s eight user memories.Many more PX-1 effects will be added over time, and each new effect will be available with a low-cost Model Pass within the BOSS Effect Loader app.

Included effects:

OD-1 Over Drive

SP-1 Spectrum

PH-1 Phaser

SG-1 Slow Gear

CS-1 Compression Sustainer

TW-1 T Wah

SD-1 SUPER OverDrive

DS-1 Distortion

CE-2 Chorus

BF-2 Flanger

PN-2 Tremolo/Pan

OC-2 Octave

PS-2 Digital Pitch Shifter/Delay

VB-2 Vibrato

DD-2 Digital Delay

DF-2 SUPER Feedbacker & Distortion

Roland Cloud Ultimate Membership Included

The same PX-1 effects are also available for computer music production with the BOSS Effects Pedals plug-in on Roland Cloud, and six months of Roland Cloud Ultimate membership comes with the pedal. This provides complete access to the full BOSS Effects Pedals library, JC-120 Jazz Chorus and RE-201 Space Echo plug-ins, and many other powerful creative tools.

Availability & Pricing

The BOSS PX-1 Plugout FX will be available in September for $249.99 USD.

Many more PX-1 effects will be added over time, and each new effect will be available with a low-cost Model Pass within the BOSS Effect Loader app.

Bad Cat Amplifiers is proud to announce the release of the Bad Cat Ocelot, an all-new compact tube amplifier designed for modern players who demand premium tone, total flexibility, and uncompromising quality—in a small 12 lbs. package.

The Ocelot brings together the warmth of pure analog tube circuitry with advanced digital features, redefining what’s possible in a small-format amp. Whether you're recording at home, gigging, or practicing silently with headphones, the Ocelot adapts to your environment without ever compromising your tone.

Compact Size, Massive Flexibility

Equipped with two independent channels and two distinct gain modes, the Ocelot delivers a wide sonic spectrum:

• Channel 1 features sparkling, high-headroom cleans with the ability to nudge into rich edge-of-breakup tones via a Hi/Lo mode switch.
• Channel 2 brings tight, punchy crunch and full-bodied, high-gain saturation—with articulate response and massive sustain.

Each channel has its own volume control, and the amp includes shared Treble, Mid, Bass, and Presence EQ for easy tone shaping.

Studio-Ready Features, Stage-Proven Design

The Ocelot’s real power lies in its flexibility:

• Two notes Torpedo DynIR™ integration with six onboard virtual cabinet presets from the official Bad Cat DynIR Pack.
• Selectable Power Modes – Choose between 20W for full punch or 1W for quiet playing.
• XLR and Headphone Outs – For silent practice or direct-to-DAW recording, complete with Cab Sim and adjustable Cab Level control.
• Buffered Effects Loop – Keep your pedals sounding pristine and punchy.
• USB-C Port – For firmware updates and remote editing via Two notes Torpedo Remote software.
• MIDI Control – Full MIDI implementation for switching channels, modes, and cab presets on the fly.

And thanks to its internal speaker load, you can use the Ocelot without an external cabinet—perfect for late-night jams or tracking in a silent setup.

Built for Real Life

Crafted with a heavy-duty aluminum chassis and powered by a custom Bad Cat transformer set, the Ocelot is a rugged, reliable, and road-ready package. It includes a two-button footswitch and is backed by Bad Cat’s 5-year limited warranty.

Specifications

• Designed in the USA by Bad Cat Amps
• 20 Watts, switchable to 1 Watt
• 2 x EL84 Power Tubes
• 3 x 12AX7 Preamp Tubes
• Two Channels with Hi/Lo Mode
• Treble, Mid, Bass, and Presence Controls
• Master Volume
• Two notes Torpedo DynIR Integration (6 presets)
• Cabinet Simulated XLR Output
• Cabinet Simulated Headphone Output
• MIDI Input
• Buffered Effects Loop
• 8, 16 Ohm Speaker Outs
• Heavy Duty Aluminum Chassis
• USB-C Connectivity
• Footswitch Included
• 5-Year Limited Warranty
• Street Price: $1,299.99

The Bad Cat Ocelot: Go anywhere. Play anything. Available August 28, 2025.

For more information or to place an order, visit www.badcatamps.com

With over 11,000 lessons online, plus tutor feedback, there’s no better way than Guitar Tricks to learn remotely right now

Including a slew of limited edition finishes, the Guitar Center Labor Day sale is the place to go to stand out from the crowd

The Who have embarked on their final North American, with their final date wrapping up at Las Vegas’ MGM Grand Garden Arena on September 28

McIntosh joined Mayer’s band and played a starring role on his acclaimed live album, Where the Light Is