General Interest

Guitars represent a rich musical legacy and hold a special place in our hearts. The new Marcus King ES-345 is a beautiful example of that tradition—a recreation inspired by his main guitar, “Big Red,” the 1962 ES-345 handed down from his grandfather to his father and finally to him.

This modern version captures the look and soul of the original, with only the features that Marcus finds essential, including mono wiring, a pair of Custombucker humbucking pickups, a fixed Vibrola tailpiece for improved tuning stability, and a stud anchor cover customized specifically for Marcus. All the hallmark features of the ES-345 are still here, just refined through the lens of a legacy that spans generations and stages around the world.

Gibson Marcus King ES-345 Semi-hollowbody Electric Guitar - Sixties Cherry

Fender Musical Instruments Corporation (FMIC) is turning up the volume with the launch of its newest lineup—an electrifying new collection of world-class guitars, amps, and accessories. Fueled by a relentless passion for innovation and excellence, Fender® is once again redefining the sound of tomorrow, igniting the journey of the next generation of players across the globe.

Packed with innovation and the legendary craftsmanship that’s defined the brand for nearly 80 years, this latest rollout proves Fender isn’t just riding the momentum—it’s accelerating it. Key highlights include the Squier® Classic VibeTM, California Acoustics, expansion of Mustang® Series and new HammertoneTM Pedals amongst others.

“At Fender, we’re always pushing the boundaries of what’s possible within the world of instrumentation - for players at every level,” said Justin Norvell, Executive Vice President of Product and Sales at Fender. “This falls lineup reflects our commitment to innovation, craftsmanship and tone. From next-gen guitars to powerful new amps and performance-driven accessories, we’ve built this range to inspire creativity and elevate the playing experience in every genre. We’re proud to carry forward our legacy by continuing to shape the future of music whilst also paying homage to our heritage and the traditions that got us here in the first place.”

Classic Vibe™ ‘50s Stratocaster® HT ($449.99 USD, £439.99 GBP, €519 EUR, $849.00 AUD, ¥66,000 JPY) A tribute to the early days of the Stratocaster® in the 1950s, the Classic Vibe™ ‘50s Stratocaster® HT from Squier® delivers authentic vintage style and tone. Inspired by original 1950s-era Stratocaster models, this guitar features three Fender Designed™ alnico single-coil pickups that produce clear, articulate sound with classic character. The 6-saddle hardtail bridge—an option first introduced in 1955—offers excellent tuning stability and intonation. Its string-through-body design enhances sustain and resonance, adding depth to every note. Visually, this model channels the spirit of the decade with period-correct headstock markings, rich nickel-plated hardware, and a vintage-tinted gloss neck finish that adds to its old-school appeal. The result is a striking blend of classic Fender style and modern playability. Available in Shell Pink and Surf Green.

Classic Vibe™ ‘70s Stratocaster® HT HSS ($449.99 USD, £439.99 GBP, €519 EUR, $849.00 AUD, ¥66,000 JPY) A tip of the hat to the large-headstock Strat® models produced during the 1970s, the Classic Vibe™ ‘70s Stratocaster® HT HSS delivers punchy tones courtesy of its Fender Designed™ alnico pickups in an HSS configuration, including a powerful humbucking bridge pickup. A popular feature during the ’70s, the hardtail bridge (HT) provides stable intonation, while its string-through-body design enhances overall body resonance. This throwback Squier® model also features 1970s-inspired headstock markings, a 6-saddle string-through-body hardtail bridge, rich-looking nickel-plated hardware, and a slick vintage-tinted gloss neck finish for an unmistakable old-school vibe. Available in Olympic White and Mocha.

Classic Vibe™ Custom Esquire® ($473.99 USD, £449.99 GBP, €539.00 EUR, $899.00 AUD, ¥66,000 JPY) A tribute to the double-bound body Esquire® models of the late ’50s and ’60s, the Classic Vibe™ Custom Esquire® delivers incredible tone courtesy of its Fender Designed alnico single-coil bridge pickup. An innovative feature from the era, the 3-position blade switch offers versatile tone options—including tone control bypass, variable tone control, and a pre-set tone capacitor for added bass-y warmth. This throwback Squier® model also features period-inspired headstock markings, a double-bound body, rich-looking nickel-plated hardware, and a slick vintage-tinted gloss neck finish for an unmistakable old-school vibe. Available in Candy Apple Red and Sherwood Green.

Classic Vibe™ Custom Telecaster® SH with Bigsby® ($524.99 USD, £479.99 GBP, €569.00 EUR, $999.00 AUD, ¥74,800 JPY) A tribute to the double-bound body Tele® models of the late ’50s and ’60s, the Classic Vibe™ Custom Telecaster® creates incredible tone courtesy of its Fender Designed™ alnico single-coil bridge and humbucking neck pickups (SH). Delivering expressive vibrato effects, the Bigsby® tailpiece features a string-through design for easy restringing and is complemented by a floating bridge with barrel saddles for optimal intonation stability. This throwback Squier® model also features a double-bound body, period-inspired headstock markings, rich-looking nickel-plated hardware, and a slick vintage-tinted gloss neck finish for an old-school vibe. Available in Lake Placid Blue and Aztec Gold.

Classic Vibe™ Duo-Sonic™ HS ($419.99 USD, £419.99 GBP, €499 EUR, $799.00 AUD, ¥66,000 JPY) With a comfortable compact body size and a short 24” scale length, the Classic Vibe™ Duo-Sonic™ HS punches above its weight with a Fender Designed™ alnico single-coil neck pickup and humbucking bridge pickup for superior tone. The vintage-style string-through-body hardtail bridge provides stable intonation and enhances body resonance for improved sustain. This throwback Squier® model also features period-inspired headstock markings, rich-looking nickel-plated hardware, and a slick vintage-tinted gloss neck finish for an old-school vibe. Available in Desert Sand and Lake Placid Blue.

Classic Vibe™ Telecaster® Bass ($473.99 USD, £419.99 GBP, €539 EUR, $899.00 AUD, ¥66,000 JPY) Blending styling cues from late-1960s and early-1970s Telecaster® models, the Classic Vibe™ Telecaster® Bass from Squier® reimagines the rare, humbucker-equipped design that defined an adventurous era in music. At its core is a Fender Designed alnico wide range humbucking pickup in the neck position, delivering a bold, thunderous tone that adapts effortlessly to a wide range of playing styles. This vintage-style bass features a Telecaster-inspired headstock and pickguard shape, paired with a contoured body that enhances playing comfort during long sessions. A 4-saddle bridge with slotted barrel saddles provides solid intonation and classic feel, while nickel-plated hardware adds a touch of visual richness. Completing the retro aesthetic is a vintage-tinted gloss neck finish, giving the instrument a warm, old-school vibe that looks as good as it sounds. Available in Mocha and Vintage White.

Classic Vibe™ Active ‘70s Jazz Bass® ($524.99 USD, £489.99 GBP, €579 EUR, $999.00 AUD, ¥81,400 JPY) The Classic Vibe™ Active ’70s Jazz Bass® draws inspiration from the iconic basses that shaped the funky tones of the 1970s, combining vintage aesthetics with modern performance through the addition of an onboard preamp. Powering this Squier® groove machine is a pair of Fender Designed alnico Noiseless™ Jazz Bass® pickups, delivering punchy, hum-free tone. The 9-volt preamp offers a full suite of controls, including volume, pickup blend, treble and bass boost, along with a toggle switch to move between active and passive operation for complete tone-shaping flexibility. Additional features include a HiMass™ bridge for enhanced sustain and resonance, a bound fingerboard with block inlays, rich-looking nickel-plated hardware, and a slick vintage-tinted gloss neck finish that adds to its unmistakable old-school vibe. Available in Mocha and Ocean Turquoise.

Classic Vibe™ Active ‘70s Jazz Bass® V ($556.99 USD, £509 GBP, €609 EUR, $999.00 AUD, ¥85,800 JPY) The Classic Vibe™ Active ’70s Jazz Bass® V draws its inspiration from the infamous basses that defined the funky tones of the 1970s, adding an onboard preamp for the ultimate combination of vintage looks and modern performance. Powering this Squier® 5-string groove machine is a pair of Fender Designed™ alnico Noiseless™ J Bass® pickups for punchy hum-free signal. The 9-volt preamp provides controls for volume, pickup blend, treble and bass boost, and a toggle to switch between active and passive for complete tone-shaping control. Other details include a HiMass™ bridge for optimal resonance, a striking bound fingerboard with block inlays, rich-looking nickel-plated hardware and a slick vintage-tinted gloss neck finish for an old-school vibe. Available in Sienna Sunburst and Ocean Turquoise.

Classic Vibe ‘60s Jazzmaster® ($449.99 USD, £449.99 GBP, €549 EUR, $XX AUD, ¥71,500 JPY) The Classic Vibe ‘60s Jazzmaster® is a faithful and striking homage to the iconic Fender favorite, producing undeniable Jazzmaster tone courtesy of its dual Fender Designed™ alnico single-coil pickups. Player-friendly features include a slim, comfortable “C”-shaped neck profile with an easy-playing 9.5”-radius fingerboard and narrow-tall frets, a vintage-style tremolo system for expressive string bending effects, and a floating bridge with barrel saddles for solid string stability. This throwback Squier model also features 1960s-inspired headstock markings, rich-looking nickel-plated hardware and a slick vintage-tint gloss neck finish for an old-school vibe. Available in Tahitian Coral.

Classic Vibe ‘60s Jazz Bass® ($473.99 USD, £449.99 GBP, €549 EUR, $899.00 AUD, ¥66,000 JPY) A tribute to the decade of its birth, the Classic Vibe™ ‘60s Jazz Bass® combines the luxurious playability that made the original famous with the versatility and massive tone of dual Fender Designed alnico single-coil pickups. Player-friendly features include a slim, comfortable “C”-shaped neck profile, an easy-playing 9.5”-radius fingerboard with narrow-tall frets, and a vintage-style bridge with threaded saddles for solid performance and classic feel. This throwback Squier® model also features 1960s-inspired headstock markings, rich-looking nickel-plated hardware, and a slick vintage-tinted gloss neck finish for an unmistakable old-school vibe. Available in Tahitian Coral.

CALIFORNIA STANDARD SERIES

Drawing from a storied legacy of reimagining the acoustic experience for daring and adventurous players, California Series acoustics stand out as authentically different, undeniably timeless, and quintessentially Fender®. The California Standard features a durable all-laminate construction that will endure the demands of any playing environment from the living room to the beach, the campfire to the garage jam session, all with timeless and undeniable Fender style at an attractive price.

California Standard Redondo™($241.99 USD, £169.99 GBP, €199.99 EUR, $419.00 AUD, ¥47,300 JPY) The dreadnought shape is beloved for its robust, deep tone and versatile personality, making it the go-to choice for any musical playing style from strumming to soloing. The California Standard Redondo™ features resilient laminate construction with a spruce top and sapele back and sides for impressive and satisfying tonal richness, while a 25 ½” scale neck with a slim “C”-shaped profile provides an inviting and effortless playing feel. Other noteworthy details include an oiled walnut fingerboard and bridge, sealed-gear tuning machines for smooth and accurate tuning action, and a sleek, long-lasting gloss finish. Available in Natural (including a left-handed model), 3-Color Sunburst and Black.

California Standard Redondo™ Pack ($262.99 USD, £189.99 GBP, €229.99 EUR, $449.00 AUD) The California Standard Redondo Pack is a convenient collection of guitar essentials in one box, equipping players with a California Standard Redondo™ guitar in Natural, a gig bag, strap, picks, an extra set of strings and a 3-month subscription to Fender Play® – the easiest way to learn guitar.

California Standard Redondo™ CE ($262.99 USD, £209.99 GBP, €249.99 EUR, $449.00 AUD, ¥52,800 JPY) The dreadnought cut-away shape is beloved for its robust, deep tone and versatile personality, making it the go-to choice for any musical playing style from strumming to soloing. The California Standard Redondo™ CE features resilient laminate construction with a spruce top and sapele back and sides for impressive and satisfying tonal richness, while a 25 ½” scale neck with a slim “C”-shaped profile provides an inviting and effortless playing feel. The onboard Fender electronics provide high-quality output for live amplification, recording, and effects and a convenient onboard digital tuner. Other noteworthy details include an oiled walnut fingerboard and bridge, sealed gear tuning machines for smooth and accurate tuning action, and a sleek, long-lasting gloss finish. Available in Natural, 3-Color Sunburst, Black and Fiesta Red.

California Standard Monterey™ E ($262.99 USD, £209.99 GBP, €249.99 EUR, $449.00 AUD, ¥52,800 JPY) The orchestra shape is cherished for its comfortable mid-size body and detailed, balanced tone, making it an ideal choice for soloists and students alike. The California Standard Monterey™ E features resilient laminate construction with a spruce top and sapele back and sides for impressive and satisfying tonal character, while a 25 ½” scale neck with a slim “C”-shaped profile provides an inviting and effortless playing feel. The onboard Fender electronics provide high-quality output for live amplification, recording and effects, as well as a convenient onboard digital tuner. Other noteworthy details include an oiled walnut fingerboard and bridge, sealed gear tuning machines for smooth and accurate tuning. Available in Natural Sapele, 3-Color Sunburst and Surf Green.

California Standard Redondo™ Mini with Bag ($209.99 USD, £159.99 GBP, €189.99 EUR, $399.00 AUD, ¥34,650 JPY) The miniature dreadnought size is compact and approachable, a perfect option for travelers or smaller players at every stage of their musical journey. The California Standard Redondo™ Mini features resilient laminate construction with a spruce top and sapele back and sides for impressive and satisfying tonal character, while a short 22 ¾” scale neck with a slim “C”-shaped profile provides an inviting and effortless playing feel. Other noteworthy details include an oiled walnut fingerboard and bridge, sealed gear tuning machines for smooth and accurate tuning action, and a sleek, long-lasting gloss finish. Available in Fiesta Red, Surf Green, Black, 3-Color Sunburst and Natural Sapele.

FENDER AMPS

'62 Super™ Amplifier ($2499.99 USD, £2,439 GBP, €2,899 EUR, $4,599.00 AUD, ¥404,800 JPY) Considered hidden treasures from the early 1960s, Fender® “brown panel” amplifiers bridged the gap between the raw tone of ‘50s-era tweed amps and the sparkling clean tone of mid-’60s “black panel” amps. The ‘62 Super™ has an incredibly warm and woody sound when played clean, blooming into sweet overdrive when cranked. Along with its special phase-shifting harmonic tremolo, this amp dishes out phenomenal tone at any volume. With dual 6L6 power tubes pushing 40 watts through two 10” Celestion® Custom Design speakers, the ‘62 Super™ is ideal for recording and gigging. The ‘62 Super™ is the perfect addition to the American Vintage™ line — bound to be the next amp purchase for tone seekers, Fender® aficionados and collectors everywhere.

MUSTANG® LTX SERIES

Mustang® LTX50 & Mustang® LTX100 ($299.99-$399.99 USD, £329-£419 GBP, €399-€499 EUR, $649.00-$849.00 AUD, ¥49,500-¥66,000 JPY) The Mustang® LTX amplifiers stand as the latest addition to the world’s most popular guitar amplifier line. Merging advanced technology with classic Fender® design, it suits players at every level. It offers an intuitive user interface, 50 amp and effect models for any genre, 100 preset slots, a configurable signal path, and an integrated color display with an on-board tuner. Available in both 50- and 100-watt models, the Mustang® LTX is ideal for both practice and performance. It features a 12” Fender® special design speaker and supports an optional gig-ready 5-button footswitch. Built-in Bluetooth® lets players jam along with their favorite tracks and seamlessly create, edit, download, and share presets through the Fender TONE® app.

LTX-5 Footswitch ($129.99 USD, £99.99 GBP, €119.99 EUR, $210.00 AUD, ¥22,000 JPY ) Take command of your tone with the professional grade LTX-5 Footswitch, your direct link to the full potential of the Mustang® LTX 50 and 100 watt amplifiers. This 5-button footswitch delivers intuitive control and instant access to your favorite presets and effects, all in a road-ready design that’s built for the stage. Instantly recall your favorite tones with easy bank navigation and direct preset access in Preset Mode. Effects Mode allows you to take control of your effect chains with dedicated switches for Stomp, Modulation, Delay, and Reverb. Instantly engage or bypass effects for real-time tone shaping. Tap Tempo is available in Preset mode and an onboard tuner can be accessed with the Mode switch that mutes the signal and displays the tuning on the LCD display.

TONE MASTER® FR-12 TWEED

Tone Master® FR-12 Tweed ($649.99 USD, £579 GBP, €689 EUR, $1,249.00 AUD, ¥108,900 JPY)

The Tone Master® FR-12 Tweed is a full-range, flat-response powered speaker designed for today’s digital guitar amp modelers and profilers. Wrapped in classic '50s-era tweed covering with a brown striped grille cloth, it faithfully replicates every nuance of amp simulations, making it the ideal solution for players using modelers at home or on stage. Equipped with a powerful 1,000-watt integrated amplifier, the FR-12 Tweed delivers the volume and headroom required for demanding studio sessions or live performances. It also features a 3-band active EQ and a high-frequency cut control, allowing players to fine-tune their onstage sound without affecting the line out signal sent to the PA system. With an industrial design that’s 100% Fender®, the FR-12 Tweed brings an authentic backline aesthetic to modern modeling setups.

FENDER PEDALS

Hammertone™ Breakup Drive ($99.99 USD, £75.99 GBP, €89.99 EUR, $159.00 AUD)

The Hammertone™ Breakup Drive delivers responsive, tube-like overdrive tones in a compact, format. Built around a JFET-based circuit, it’s designed to replicate the dynamic feel of hot tubes pushed to the edge of saturation. Two selectable clipping modes let players dial in anything from light breakup to low-gain overdrive, each offering expressive responsiveness that cleans up with lighter picking and intensifies with more aggressive playing. An expansive tone control and a switchable pre-gain mid boost provide flexible frequency shaping to craft the perfect sound. Whether adding character to a clean tone or delivering touch-sensitive overdrive, the Hammertone Breakup Drive offers versatile performance for players who crave feel and nuance.

Hammertone™ Boost ($99.99 USD, £75.99 GBP, €89.99 EU, $159.00 AUD)

The Hammertone™ Boost elevates any rig with two distinct boost circuits housed in a single enclosure. Its Type switch allows players to choose between a clean, op amp-based boost for transparent volume enhancement and a JFET-based boost that adds warmth and harmonic richness, reminiscent of vintage tape unit preamps. With center-detented Treble and Bass controls, the EQ section offers easy access to a completely flat boost or precise tonal shaping—cutting or enhancing frequencies as needed. Whether used to cleanly boost solos, push an amp into breakup, or add subtle sweetness to a core tone, the Hammertone Boost delivers exceptional flexibility and performance.

STROBO-SONIC PRO™ TUNER PEDAL

Strobo-Sonic Pro™ Tuner Pedal ($99.99 USD, £95 GBP, €115 EUR, $189.00 AUD, ¥14,300 JPY)

Strobo-Sonic Pro is an ultra precise strobe tuner anyone can use, featuring an astonishing ±0.01 cent tuning accuracy in an incredibly pedalboard-friendly package. Designed with on-stage tuning in mind, the Strobo-Sonic Pro™ features a large, high-visibility LED display, auto brightness dimming and two easily trackable tuning display modes that provides effortless tuning for any player. Strobe display mode delivers hyper-sensitive accuracy that even the most discerning guitar tech will appreciate, while needle display mode provides a familiar tuning experience for any situation. Conveniently accessible side switches offer deeper control of the reference pitch and three bypass modes including true bypass, buffered bypass and buffered always-on modes.

FENDER ACCESSORIES

Troubadour™ Gig Bags ($199.99 USD, £189.99 GBP, €229.99 EUR, $399.00 AUD, ¥33,000 JPY) The Troubadour™ Gig Bag was made with the on-the-go musician in mind—designed by players, for players. Featuring a weather-resistant, waxed canvas exterior, it offers exceptional protection while maintaining a sleek, premium aesthetic. With 25mm of thick padding and a soft-touch microfiber lining, it provides ample cushioning to keep instruments safe and sound during travel. Thoughtfully designed details—including ergonomic backpack straps, a dedicated water bottle pocket, and exterior compartments for laptops and accessories—ensure gear remains organized and protected on the move. Built to go the distance, the Troubadour Gig Bag isas reliable as it is visually striking—an ideal companion for musicians who demand both function and style. Available in Olive, Navy and Butterscotch.

Essentials Wall Hangers ($26.99 USD, £12.99 GBP, €14.99 EUR, $30.00 AUD, ¥2,200 JPY) The Fender Essentials Guitar Wall Hanger was designed to showcase prized guitars with style and security. Built from durable hardwood and featuring a reinforced steel yoke, it offered a reliable hold, while the pivoting, EVA foam-padded yoke adjusts to fit most headstock shapes for a straight, balanced hang. Complete with a laser-engraved Fender logo and included mounting hardware, the Essentials Wall Hanger keeps a go-to guitar ready to play while adding a subtle touch of Fender flair to any space.

Player II Guitar Necks ($314.99 USD, £339.99 GBP, €399.99 EUR, $599.00 AUD) The story of Fender’s modular design began in 1946, and guitarists have been writing their own chapters ever since. The pioneering bolt-on neck construction wasn’t just about making guitars easier to service—it was about giving players the power to shape their sound. Today, every genuine Fender replacement neck carries that legacy forward, offering endless possibilities for customization, restoration, and reinvention.

Crafted at Fender’s Ensenada, Mexico manufacturing facility, Fender® Player II Series guitar necks are designed for supremely comfortable performance, featuring a silky-smooth satin urethane back finish and a Modern “C” profile that suits almost any playing style. The 9.5”-radius fingerboard and medium jumbo frets allow for fluid leads and choke-free bends, while hand-rolled fingerboard edges provide a slightly broken-in, inviting feel. The nut is pre-slotted with “pilot” string location grooves to simplify string spacing during final slot filing. For true Fender authenticity, each neck is serialized and laser-engraved with the “Genuine Fender Parts” logo on the heel. This replacement neck is intended for Fender® or Squier® by Fender guitars.

Quadra Tap Pre-Wired Pickguards - HH & HSS ($499.99-549.99 USD, £479.99 GBP, €569.99 EUR, $899.00-$979.00 AUD, ¥77,000-¥88,000 JPY) The voice of a Stratocaster® is easily transformed with a genuine Fender® Pre-Wired Pickguard Assembly. Crafted with premium components in the same factory as Fender’s iconic guitars, this complete drop-in solution delivers authentic tone with hassle-free installation. With no complicated wiring required, upgrading is simple—just remove the existing pickguard, connect two wires, mount the new assembly, and unlock a whole new tonal palette in minutes. It’s the fastest way to enhance a Strat® with time-tested electronics and craftsmanship.

Equipped with Quadra Tap™ 1 Humbucker and 70th Anniversary Ultra Noiseless™ Strat® pickups, this loaded pickguard offers an incredibly versatile range of HH and HSS tones. The Ultra Noiseless single-coil pickups provide pristine, vintage-inspired Fender tones without the hum, while the Quadra Tap™ 1 humbucker delivers four distinct voices ranging from smooth warmth to high-output power. The volume knob’s S-1™ switch splits the humbucker into a dynamic single-coil, and the S-1™ switch on the first tone knob activates the hot voicing in both humbucking and split modes. A treble bleed circuit is also included to maintain clarity and high-end definition at any volume.

Powered by an alnico 2 bar magnet, the passive Quadra Tap™ humbucker stands out as a tone-shaping powerhouse, offering an expansive voice that captures the spirit of vintage tones while embracing the demands of modern performance.

FENDER CUSTOM SHOP

Custom Shop ‘50/’51 Blackguard Telecaster® Pickup Set ($314.99 USD, £289.99 GBP, €339.99 EUR, $539.00 AUD, ¥38,500 JPY) For fans of the unmistakable tone of a Blackguard Tele® - punchy lows, fat mids and crisp, twangy highs - the Custom Shop ‘50-’51 Blackguard Telecaster® pickups are faithful recreations of the originals. Crafted with large-diameter, unbeveled alnico 3 magnets in the bridge pickup and alnico 5 in the neck, they’re wound using 43-gauge Enamel wire for authentic performance and sound. Packed with open, lively, full-bodied tone, these pickups host a rare collection of features from the earliest versions of the 1950 Blackguard Tele® in existence.

Custom Shop Ancho Poblano Stratocaster® Pickup Set ($335.99 USD, £299.99 GBP, €359.99 EUR, $579.00 AUD, ¥44,000 JPY)With tone as big as Texas, the Fender® Custom Shop Ancho Poblano Stratocaster® Pickups deliver giant sound for the player that likes everything bigger. Crafted using ingredients according to our own secret recipe, these spicy single-coil calibrated pickups crank out fat, high-output tone with plenty of sonic flexibility. With hotter output from the neck pickup to the bridge pickup, these pickups have all the vintage-style tone and dynamic response that made Fender a legend - just more of it. Uniquely overwound for a wide range of high-output tones—from blistering-hot output to sizzling vintage warmth—with plenty of tonal flexibility.

Custom Shop Dual Mag II Stratocaster® Pickup Set ($335.99 USD, £339.99 GBP, €399.99 EUR, $579.00 AUD, ¥44,000 JPY) Fender® Custom Shop Dual-Mag II Stratocaster® pickups deliver a well-balanced tone with shimmering, clear highs and rich, full lows—thanks to a unique blend of alnico magnets. They feature unbeveled alnico 5 magnets for the low E through G strings and hand-beveled alnico 2 magnets for the B and high E strings, offering exceptional clarity and warmth across the tonal range. Each pickup is wrapped with copper shielding tape to reduce noise and includes a custom stagger with a “low G” magnet for a smooth transition from wound to plain strings. The alnico 5 under the G string helps it "sing" just right, while the slightly taller-than-vintage alnico 2 B and E magnets ensure optimal string-to-string balance. True to their name, Dual-Mag II Strat® pickups provide one of the clearest, most balanced Stratocaster tones available—designed for players who demand nuance, precision, and musicality.

Custom Shop ‘55/’56 Whiteguard Telecaster® Pickup Set ($314.99 USD, £289.99 GBP, €339.99 EUR, $539.00 AUD, ¥38,500 JPY) An essential part of the recipe from the Whiteguard era, the Fender® Custom Shop ’55-’56 Telecaster® pickups are an accurate 1:1 recreation of the pickups used in those instruments. These pickups have all the grunt and snarl of the originals, thanks to the hand-beveled, staggered alnico 5 magnets in the bridge pickup. The neck pickup uses alnico 3 magnets for sweet midrange and tight bass. Most Whiteguards had transitioned from alnico 3 to the higher output alnico 5 magnets and featured staggered bridge pickup magnets. This stagger creates more string-to-string articulation and a balanced output. These updates—along with steel bridge saddles—created more high-end twang with a faster attack. From chicken pickin’ to raw rock, experience the authentic vintage Tele® tone that launched countless hits.

For technical specs, additional information on new Fender products and to find a retail partner near you, visit www.fender.com. Join the conversation on social media by following @Fender on all social platforms.

Since forming in 1975, Iron Maiden have performed quite literally thousands of shows to audiences across the world. But doing so hasn’t made them forget some of the hilarious stories from their earlier gigs.

And as the British metal juggernaut’s manager for the last 45 years, Rod Smallwood has pretty much seen it all. 

• READ MORE: “When you get to our age, things just go wrong. We’ll probably keel over after two songs!”: Ozzy Osbourne on Black Sabbath’s final show

In a new interview in the latest print issue of Classic Rock, he explains how he wanted Maiden to be a “hugely successful international band”, which is why they opted to tour in Japan before America, a country widely considered to be the golden ticket to mainstream success.

“Metal is a worldwide thing, and I always wanted Maiden to be a hugely successful international band,” he says. “I wanted parallel development across the world.”

But those early Japan shows revealed customs they weren’t expecting beforehand, like audiences being seated during heavier rock shows.

“We loved Japan. It was such a different culture to experience,” he goes on, recounting a show at Koseo Nenkin Hall in Tokyo on 21 May, 1981.

“One of the weirdest things for us was how the audiences were all seated. If a fan got too excited and stood up, a security guy would bang them on the head with rolled up newspapers. So the fan would sit down, but then another would stand up somewhere else, and then – bang! – they’d sit down. It was like Whac-A-Mole. Quite extraordinary.”

Of course, Iron Maiden went on to conquer America anyway, and Smallwood recalls the first time he felt that they’d made it.

Speaking on the band’s show at the Seattle Coliseum on 28 June, 1983, he remembers: “It was our first sell-out arena show in America. By this time we’d sold 380,000 albums there. I remember the exact figure.

“We’d done all of these support tours and now it was time to headline. So do we do theatres or do we go for arenas? If I knew then what I know now, then there’s no way I’d have done arenas. I mean, platinum albums don’t always sell out arenas. So I like to think it was inspiration, but looking back, it was more fucking madness that worked. 

“Seattle was the sixth show on that tour. Sold out, 13,000 people. And believe me, I was very, very grateful. On that same tour we also sold out [New York City’s] Madison Square Garden. We rode to the venue in stretch limos, and I’ll never forget that feeling of: ‘Fucking great, we’ve done it!’”

View a full list of Iron Maiden’s upcoming tour dates via their official website.

The post “If a fan got too excited and stood up, a security guy would bang them on the head with rolled up newspapers – it was like Whac-A-Mole”: Iron Maiden manager recounts band’s early Japan shows appeared first on Guitar.com | All Things Guitar.

Time is ticking now with under two weeks until Black Sabbath’s monumental final show, Back to the Beginning.

The event will be the final time Sabbath’s original lineup – Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward – perform together, and they’ll be supported by a stacked lineup of support artists including Metallica, Slayer, Pantera, Gojira, Lamb of God and many more.

• READ MORE: Sine is Verso Instruments’ latest and greatest experimental guitar

But while Ozzy Osbourne says he’s been following a strict training regimen in preparation for the show – walking and weight training, reportedly – he’s also aware that he and his bandmates are now all in their 70s, and so is expecting a few hiccups along the way.

Speaking to MOJO in its new print issue, he says: “I had an appointment in the hospital yesterday. I’ve also got a problem with a trapped nerve in my neck – nine months and it won’t shift. When you get to our age, things just go wrong. We’ll probably keel over after two songs!”

Indeed, Ozzy has already revealed that he’s not planning on doing a full set during the event, but will instead be doing “little bits and pieces”.

“I am doing what I can, where I feel comfortable,” he said recently. The 76-year-old Prince of Darkness, who last performed a full set at 2018’s Ozzfest, adds: “I am trying to get back on my feet. When you get up in the morning, you just jump out of bed. I have to balance myself, but I’m not dead. I’m still actively doing things.”

According to Ozzy’s wife and manager Sharon Osbourne, the Back to the Beginning show has been in the works for about two years. The idea first came about when Ozzy expressed regret at not being able to say a proper goodbye to his fans.

“My one regret is I can’t say goodbye and thank you for the life I’ve been given,” he told her, to which she replied: “Well why don’t we just do one big show and you can thank everybody?”

Tickets for the event sold out pretty quickly – in 16 minutes, per some reports – but you’ll still be able to catch it on the official pay-per-view livestream. That costs £24.99, and you’ll be able to rewatch the show in its entirety for 48 hours following the end of the event.

For more information, head to backtothebeginning.com.

The post “When you get to our age, things just go wrong. We’ll probably keel over after two songs!”: Ozzy Osbourne on Black Sabbath’s final show appeared first on Guitar.com | All Things Guitar.

You could call John Fahey the Johnny Appleseed of solo steel-string guitar playing, but Black Flag is probably a more appropriate reference. Like the punk progenitors would do many years later, Fahey not only crafted a uniquely rooted musical approach that would be adopted by legions of practitioners, he self-released his records on his Takoma Records label and hit the road, well before DIY was a common approach.

Joining us to talk Fahey is solo guitarist Hayden Pedigo, whose warmly sincere instrumentals balance the “trickster manifestations” that have led him to walk in a Gucci show and found him the subject of the 2021 documentary, Kid Candidate. His latest, I’ll Be Waiting As You Drive Away, was released this month on Mexican Summer.

Dire Straits very nearly gave up on making their smash hit Money For Nothing, with guitarist Mark Knopfler struggling to find the right guitar sound – until a microphone quite literally fell into place, that is.

The track – known for its iconic isolated guitar riff and guest vocal contributions from Sting – formed part of the band’s fifth album, 1985’s Brothers In Arms. At the time, Knopfler wanted to recreate the guitar tone of ZZ Top’s Billy Gibbons, but with technical issues amid the early years of digital recording technology and creative blocks arising, he was ready to give up on it.

• READ MORE: Sting’s guitarist explains why the Les Paul is the “perfect” instrument, and why it’s more “reliable” for tuning than a Fender

Speaking to Classic Rock in its new print edition, Knoplfer says, “It was an interesting period with the digital recording. An adventure as well. Neil [Dorfsman, producer/engineer] was chasing after what he ruefully refers to now as ‘perfection’, which is not something you can actually get, but he’d learnt his craft. He was a tremendous engineer. I used to just sit and watch him work, taking it all in, and he couldn’t tell me to clear me off because it was my record.”

However, following a fault with some digital tape machines, the band had to technically start things over for the record. Money For Nothing was becoming quite the slog to finish at this point, but after drums were completed by Omar Hakim, and keyboardist Guy Fletcher had put down a synth part, a new lease of life was given to the track.

It was just down to Knopfler to nail that guitar tone, and as Fletcher says, he was “always looking for something different, some other element that wasn’t in the room” – that later turned out to be a microphone which had drooped down from a speaker cabinet towards the floor, unlocking that Billy Gibbons tone.

“One of the assistants spotted the mic and went to move it,” Fletcher recalls, “and everybody shouted at once: ‘No! Don’t touch it!’ Once Mark had his guitar lick down, the whole song took off and became its own lifeform.”

Brothers In Arms celebrates its 40th anniversary this year – a special edition of the record is available to buy or stream now.

The post “Everybody shouted at once, ‘No! Don’t touch it!’”: How a microphone mishap led Mark Knopfler to finding the perfect guitar tone for Money For Nothing appeared first on Guitar.com | All Things Guitar.

Ed Sheeran’s collaboration for the upcoming F1: The Movie with Foo Fighters’ frontman Dave Grohl and John Mayer has finally been released – and the track has seen him collaborating with with PRS Guitars, too.

Drive’s music video showcases Sheeran’s one-off PRS model. Suitably racing red, the guitar reimagines PRS’ SE Hollowbody Baritone, adopting a unique fretboard design of yellow birds and a gear stick icon on the 12th fret.

• READ MORE: The gear used by Dave Grohl on the Foo Fighters’ legendary debut album

Sheeran isn’t taking the collaboration lightly. He’s already road-tested it, and he’s keen to play it at even more shows down the line. “I wanted to create a bespoke guitar with PRS for F1: The Movie and song I did,” Sheeran explains.

Since 2018, Sheeran has been a firm PRS supported. The brand is his go-to for electric guitars, with his current favourite model being the Hollowbody II in a Prism Dragon’s Breath finish with cherries on the fretboard, a one-off purple Silver Sky gifted to him by his Drive collaborator, Mayer, and a stock Custom 22.

“This has been an exciting project to work on with Ed,” PRS Guitars Director of Artist and Community Relations, Bev Fowler, adds. “From his years of playing our electrics, he knew exactly what he wanted in terms of look, sound and feel. This unique creation will be incredibly memorable.”

Sheeran, Grohl and Mayer’s thumping rock tune sees Grohl on percussion like during his Nirvana days, with Mayer and Sheeran knocking out guitar. Sheeran takes vocal responsibilities.

The release of the music video comes days before F1: The Movie’s 25 June release in the UK, before releasing worldwide on 27 June. The full soundtrack will also be released on streaming services the same day.

Sheeran will be releasing his new album Play on 12 September, with singles Old Phone, Azizam and Sapphire already out. Alongside his new record, Sheeran is also embarking on a European tour at the end of this month.

Drummer Grohl will be continuing to embrace F1, with the Foo Fighters set to headline day two of the F1 Singapore Grand Prix this October.

The post Ed Sheeran’s track on the F1 movie soundtrack sees him collaborating with PRS for racing red exclusive guitar appeared first on Guitar.com | All Things Guitar.

Billy Idol has reflected on the volatile crowds that attended Generation X shows, noting that his manager would later pick up large shards of glass on stage that had nearly hit him mid-performance.

Generation X, which was fronted by Idol, formed during the 1970s in London. The punk band released three albums together before he moved to New York in 1981 to pursue his own solo project alongside Steve Stevens, and clashes among subcultures at some of their shows led to some brushes with danger for Idol.

• READ MORE: “That song bought you your house and got you your hot wife”: Billy Idol guitarist Steve Stevens says artists shouldn’t complain about having to play their biggest hits

Responding to a reader question in the print edition of Uncut regarding these hectic Generation X shows, and whether or not they influenced his decision to go solo and head over to the US, Idol responds, “It was par for the course, yeah.

“There were a few shows like that where people were throwing beer, pint glasses, and the road manager would show me great big shards that just missed my head. But it was really more that Derwood [Andrews, lead guitarist] and Mark [Laff, drummer] left the group. That’s what began the dissolution of Generation X.”

He adds, “Once a group’s not going in the same direction, it’s a nightmare – you might as well end it. So if I was going to start up on my own, it made sense to go somewhere else, because if you stayed in England you might end up propping up a bar – people feel that you’re over.

“I had an American manager by that time, and he was saying, ‘You should come to New York – this city’s bankrupt, anything goes. It’s a hell of a lot of fun at the moment.’ And it was,” Idol concludes.

Billy Idol is touring throughout June-September – you can grab tickets to see him live via his official website.

The post “The road manager would show me great big shards that just missed my head”: Billy Idol recalls the chaos of early Generation X shows appeared first on Guitar.com | All Things Guitar.

Every year, the NAMM Show in California brings the music industry together under one very large roof to check out the newest and most interesting instruments. In 2025, one piece of gear that turned an inordinate number of heads was the latest creation from Verso Instruments. And with good reason: it looks less like a guitar than something yanked straight from the pages of a mid-century furniture catalogue.

A sleek mix of wood and metal, bold colours and minimalist approach, the new Sine is not of any mainstream guitar-design lineage – but one spawned by a one-man company in Germany that embraces the unexpected. What’s Verso’s design philosophy? “Building funky stuff and not rejecting the errors is a big part of what I’m interested in,” says founder Robin Stummvoll.

Stummvoll’s path to building his own instruments under the Verso name began as a deliberate leap away from tradition. A lifelong guitarist who started his first punk band at 13, he’d found himself neglecting the instrument while studying for his degree in industrial design. “I found it interesting to look at why I was abandoning it more and more, and how to make it more appealing to me again,” he explains. He decided to use his degree’s final project to re-enter the world of guitar – his own way.

“I started doing a lot of research, and I found that the guitar – the electric guitar especially – is carrying this burden of the iconography of big rock stars,” he explains. “And I totally get that. I’m a fanboy of many guitar heroes, Hendrix and so on. But on the other hand, I feel it’s a big difference to, say, the violin or piano, where you just have this archetypal instrument: people don’t really expect you to play any one specific thing.”

“Building funky stuff and not rejecting the errors is a big part of what I’m interested in” – Robin Stummvoll, founder of Verso Instruments

Stummvoll started to look at how that archetype might be expressed for the electric guitar. “A ridiculous thought,” he says, “as that’s basically what Leo Fender did with the Telecaster. But I thought it would be interesting to start with the most minimalist guitar that I could and go from there.”

The centerpiece of Verso Instruments’ first three guitars is a curved sheet of steel, which takes the place of a traditional body. The pickups, being magnetic, aren’t attached in any one place. Instead, you’re free to move them around underneath the strings as you see fit. Moveable pickups are not totally new, but this approach to achieving them certainly is.

This ever so slightly bouncy bent steel body was introduced with Verso’s first guitar, Cosmo, launched in 2020. Two variations came in the years following, the Gravis and Orbit, a bass and baritone respectively. But Sine redefines the formula once more with the Sine Pad, one of those rare genuine innovations on the electric guitar’s design.

Happy accident

Sine’s main body is now wood, and the steel plate with moveable pickups is now independent from the neck and bridge. And so when you press down on this pad, you increase the pickup-to-string distance for an interactive volume reduction. You can volume swell, you can do manual tremolo, and, thanks to a collaboration with renowned utility pedal manufacturer Lehle, you can output this bending motion as expression, CV or MIDI to control synths and pedals. The possibilities quickly start to boggle the mind.

The flexible pickup pad was inspired by the slight springiness of Cosmo’s body – something many would have considered a problem. “Maybe someone [else] would have screwed Cosmo together to keep it still,” Stummvoll adds. But after he seriously contemplated what use the springiness could bring, one man’s design flaw turned into Sine’s defining feature. “It was a quality you could dive into more. With Sine, that was the case – it was another happy accident.”

“I thought it would be interesting to start with the most minimalist guitar that I could” – Robin Stummvoll, founder of Verso Instruments

Stummvoll loved the idea for the Sine Pad from the beginning, but it wasn’t always going to be an actual Verso product. It was in 2024 when he actually decided to make Sine official. One of its most intriguing features also came about relatively late in the process: the electronics module, a collaboration with Lehle. Using a hall effect sensor, the Sine Pad’s motion is translated to your choice of CV, MIDI or expression – opening up endless control options for pedals, synths and more. “It is such a versatile and interesting instrument because of it,” Stummvoll says admiringly.

The result of using the expression outputs only get more complex when combined with the physical effects of using the Sine Pad. It is in some ways a volume control, but the effect it creates isn’t just a linear drop in signal. All sorts of tonal interactions happen as you move the pickups towards and away from the strings, including a slight signal created by the movement itself. Combine this with the MIDI and expression outputs and the guitar is perfect for tone-chasing far beyond the traditional.

Fittingly, then, one player who has been testing Sine out is Scott Harper, AKA Knobs, who you may know from his own excellent demos of outré pedals and his collaborative design work with Chase Bliss. “I think he’s the perfect person for it,” Stummvoll says. “He really dove deep into what’s possible – he’s still not figured out everything, but he definitely surprised me with certain combinations.”

Elements of surprise

An interesting consequence of attaching pickups to a big steel plate is that it ends up creating a pretty big microphone. “When you knock on the body, you really hear it,” Stummvoll says. “And if you record something and there’s a drummer in the same room, you can hear the drums in the guitar track.”

While this means that Sine isn’t technically recommended for high-gain, high-volume playing, Stummvoll doesn’t rule anything out. “People have proved me wrong before. I have players who use Cosmo for death metal. I don’t limit my guitars anymore, they’re really open for anything.”

The lively, microphonic sound was, like many other aspects of Sine, one more “happy little accident” that ended up informing a large part of the guitar’s personality. “It contributes to the sound of the guitar – the microphonic character is what I like about it,” says Stummvoll. “It’s funny, it sounds very wooden, ironically, and very open. And it’s really a shapeshifter in sound, of course, thanks to the moveable pickups.”

“It’s funny that we think of ‘play’ as something childish” – Robin Stummvoll, founder of Verso Instruments

But perhaps that woody, open sound isn’t so ironic. Despite the steel being a central element, Verso guitars feature wooden necks and, in the case of Sine, a mostly wooden body underneath that steel Sine Pad. “The warmth and feel of an instrument is very important,” Stummvoll says. “You don’t want to get rid of the heart of the guitar! If the body is sheet metal, you’ve got to be careful not to make it headless, or add an aluminium neck and make it too alien.”

And so Verso Instruments guitars do still display a lot of traditional guitar-making techniques, despite their out-there appearance. “The mixture of tradition and then something different is what’s appealing to me. That’s why I’m using very very traditional surface finishes for the necks, like oil and shellac polish.”

Time to play

Stummvoll had to deal with the odd cynical internet comment dismissing Sine as a “toy” or a “gimmick” – such is the lot of anyone who makes something new and weird, of course. But this sentiment can be particularly potent in the world of electric guitar, where 70-year-old designs are still broadly held up as the gold standard.

“It’s funny, as the electric guitar is a symbol of freedom and for breaking out of restrictions,” Stummvoll muses. “But in some ways it’s not that open. It can be conservative. Not all guitarists are conservative – but I find it very funny when I see some people comment on the work I do who are offended by certain guitars.”

Stummvoll isn’t insulted by comparisons to toys, either. “It’s funny that we think of ‘play’ as something childish,” he says. “Playing an instrument is a perfect example of how you can ‘play’ very seriously. I’m always wondering when we start to not play anymore and become adults. I try myself to keep that spark alive – and I think many artists do that.”

What will Verso do next to keep that spark alive, now that Sine is out? “I have an idea for a lap-steel guitar,” Stummvoll says. “I’m really not sure where it will lead me – maybe it’s more like a tabletop instrument for synthesiser geeks, maybe it’s more like a traditional lap steel. What I’m curious about is making something a bit more industrial, something I can assemble a bit more quickly and a bit more affordable. I haven’t built a prototype yet, so I’m curious if it will work!”

Whether it works or not is perhaps besides the point – instead, it’s Robin Stummvoll’s unending curiosity that remains the engine of Verso Instruments. Sine is a testament to what you can achieve when you turn tradition on its head and take that leap into the unknown.

This story appeared in the Guitar.com Magazine May/June 2025 issue.

Words: Cillian Breathnach
Photography: Rachel Billings

The post Sine is Verso Instruments’ latest and greatest experimental guitar appeared first on Guitar.com | All Things Guitar.

 Everybody's talkin' 'bout the new sound, funny, but it's still rock and roll to me.

Here is a photo me (sorry for the poor quality, it’s a scan of the original) from August 1980 at the Christopher Parkening master class at Montana State University, Bozeman. My guitar teacher at the time had studied extensively with Mr. Parkening and thought it would be good for me to audition for the class, he was certain I would be accepted. I was and somewhere I have the acceptance letter from Mr. Parkening. Talk about a dream come true!  I remember that I played an etude by Sor and a lute piece, Wilson's Wilde and maybe an etude by Giuliani, I need to look for the end of class recital program, I think I played in the second or third spot. It was quite the experience and I got to met several wonderful players. 

My parents drove me to Bozeman in our 1963 Plymouth Belvedere station wagon. Somewhere around Idaho Falls, Idaho, the radio station we were listening to played Still Rock and Roll to Me, it was the first time I heard it and it made an impression on me. It made more sense to me when I started my college freshman year one month later, there I discovered punk rock and that kids my age were dying their hair pink and spiking it. I thought that Still Rock and Roll to Me was an anthem for those of us who were 18 years old at the time. 

The guitar I am playing in the photo I still have, it is a Hernandis Model 1, imported by Sherry-Brenner of Chicago from Japan. The label states that it was made February 1973, has a western red cedar top, the back and sides are Indian rosewood plywood. It is a Japanese made copy of the José Ramirez that were so popular among classical guitarists in the 1970’s and 1980’s. My parents bought if for me in 1979, I think it cost $620 with tax, that equates to about $3000 in today’s dollar. Despite the plywood back and sides it is a well made guitar.

Update 06/2025: I recently replaced the top and neck on that old Hernandis guitar. It now has a gorgeous redwood top and a Spanish cedar neck, unlike the original which was mahogany. I tuned the back braces a little to get more depth from the back and the top has a bracing system that has proven very successful for making a loud guitar with a beautiful voice. I am currently in the middle of French polishing it, when it is done I will offer it for sale.

Moths and butterflies are admirably, amazingly adaptable in flight. I mean, imagine you weigh mere milligrams. You’re trucking along, minding your own business, and a 45 mph gust blows you straight into the path of a garbage truck. As a moth, you have to be ready for anything. I’ve been in a lot of jams like that. The Moth Electric C. Regalis would have been a perfect companion.

The C. Regalis (the name honors the largest moth, by mass, found north of Mexico, making the moth in my earlier metaphor seem pretty lame) derives its own adaptability from blendable drive and clean tones. There’s nothing revolutionary about that idea. But the C. Regalis has a drive section that sounds great and is very versatile by itself and makes the whole very special. It has a flexible +/-15dB treble-and-bass EQ and a smooth/crunch switch that functions, more or less, exactly as advertised by adding even-order harmonics. The many possible tones from the drive section can, in turn, be compounded exponentially with the dirty/clean blend. All this room to roam in the controls means C. Regalis isn’t encumbered by a rigid agenda. It cares little about whether you use a Jaguar or an SG, a Fender Deluxe Reverb or a Marshall. The C. Regalis is eager to please. And it’s hard to imagine a player that couldn’t find a sound, or 30, to love in this pedal.

Master of Metamorphosis

Overdrive pedals, even lovable, essential, invaluable ones, can be pretty boring. And I can’t remember the last time I thought of an overdrive as a songwriting machine. But the C. Regalis is varied, forgiving, and intuitive in ways that facilitate fast movement between tones and make morphing between mere sounds and more concrete musical ideas fluid and effortless. There are many springboards and templates to work from too: Randomly choosing pedal settings, I bounced between sweet, toppy clean boost, hot treble-boosted tones, tweed Deluxe haze, Stonesy grime (’60s and ’70s versions), Dinosaur Jr. grind, and Sabbath sludge—and that was with a single guitar and amp.

Not surprisingly, for an overdrive and distortion with a clean blend control, there are strong hints of Klon, and I found many comparable tones in the C. Regalis and my fave klone at many settings. But the C. Regalis is also generally airer and less compressed than the klone, which translates to a lot of headroom and range. That range can reveal potential in the amps and guitars you already have. A few examples: I turned a raspy P-90 and Marshall combination into deep, pillowy Kevin Shields smoke. A Telecaster and vintage Vibrolux bellowed like a plexi, then ripped lines of treble-boosted acid twang. Curtis Novak Wide Range pickups in a Telecaster Deluxe plus the Moth sounded good with … everything. And I don’t remember encountering undesirable combinations that couldn’t be fixed with a simple, quick adjustment to the pedal or guitar controls (the C. Regalis is also highly responsive to guitar volume and tone attenuation).

The Verdict

Moth Electric’s C. Regalis is a really lovely, thoughtfully designed drive unit. At $179, it’s also a deal. The controls are smooth, precise, and situated in a clean, clear, and straightforward layout. And the simple, spacious design makes it easy to move between drastically different tones, mid-performance, without feet or presets. (Yes, bending over mid-jam kinda sucks, but if you don’t have enough time to pull this off, you’re probably playing too many notes.)

There are, of course, specific drive sounds that the C. Regalis can’t recreate. But it was hard to find any sizable holes in its performance envelope. And it can convincingly approximate almost any pedal, and many amps, at anywhere along the clean-boost to mid-gain distortion spectrum. If you chase specific pedal tones at super-granular levels, the C. Regalis might not always hit the mark. But if you’re out to craft a tone of your own that’s rooted in the organic, analog, vintage realm, C. Regalis has a very high likelihood of delivering.