General Interest

Reader: Ed Beauchamp
Hometown: Pawling, NY
Guitar: Danicaster

I’m a guitarist and an art lover with a special interest in the “drip” paintings of abstract expressionist Jackson Pollock, so I was intrigued when I heard about Fender’s limited-edition Splattercaster guitars. These were Mexican-made Strats, whose bodies were placed on a turntable and spun while paint was dripped onto them, similar to the spin art created by children’s toys. There were 500 of these guitars produced between 2003 and 2004, each one unique, and they were priced at $300. Today, these guitars can sell for as much as $2000. My stepdaughter Danielle was an artist, and once while we were having a discussion about art, I showed her pictures of the Splattercasters. She was impressed and agreed that they were very cool instruments.

Tragically, Danielle fell ill and passed away in 2016 at the age of 36. While talking later with her boyfriend, Kris, he mentioned that Danielle had wanted to buy a Splattercaster as a gift for me, which I never knew, but they were too expensive. Never one to give up, Danielle decided she was going to get a guitar and paint it herself. Kris said that she had indeed bought a guitar, but had passed away before she had a chance to do anything with it. I just assumed that it was a toy guitar, or perhaps a ceramic guitar that could be painted, but Kris said that it was a real, full-size guitar, and that Danielle’s intention was to create a playable work of art. He still had the guitar and asked if I wanted it.

It turned out the guitar was one of those $150 Strat DIY kit guitars. I wasn’t sure how playable such an inexpensive guitar would be, but I took the guitar anyway, with the vague idea of somehow completing it. I had no idea how to accomplish that. I’m not a painter, and the thought of even trying to paint it was overwhelming, so I put the box under the bed where it sat for years.

About a year ago, I approached a local artist, John Colantuono, whose work I had seen at local art shows. John is an abstract painter who often employs methods similar to those of Pollock. John said he had never done a project like this, but he was willing to give it a try. I removed the electronics from the pickguard, screwed the pickguard to the body, and gave the body to John. Several months later, John had finished painting the body and it looked amazing! I began to assemble the guitar, and found that the neck that came with the kit was pretty rough, so I substituted a Mighty-Mite replacement neck I had. After assembling and setting up the guitar, I was surprised to find out that not only was it playable, but the action was great, and even the cheap electronics sounded pretty good.

Whenever I play the guitar, or even just look at it, I feel Danielle’s presence. As a tribute to her, I christened the guitar the “Danicaster” and put that name on the headstock. Now, nine years after her passing, the project that Danielle initiated is finally complete, and I’m thrilled. Danielle may not have been able to physically complete the Danicaster, but there is no doubt that her spirit lives on in this instrument. Danielle, we did it!

Fender has unveiled a hefty new drop of brand new products coming this year, with some exciting additions to its American Vintage, Mustang, and Tone Master amplifier collections.

All due to land during September and October, the new amps join a range of new gear – including new pedals, new Squier models, and much more – expanding the Fender product range. Executive Vice President of Product and Sales, Justin Norvell, says these new launches reflect Fender’s “commitment to innovation, craftsmanship and tone”.

• READ MORE: “The ultimate app for recording and jamming”: Fender Studio has arrived, bringing one-tap recording, authentic amp models and more

Both the American Vintage and Tone Master lines are gaining one new model each, while two new amps and brand new footswitch are due to join the Mustang range. We’ve got the details on each new amp below:

American Vintage: ‘62 Super Amplifier ($2499.99 USD/£2,439 GBP) 

This amp pays homage to the Fender ‘brown panel’ amplifiers that bridged the gap between the “raw tone” of ‘50s-era tweed amps and the sparkling tone of mid-’60s ‘black panel’ amps.

Fender says this amp has “an incredibly warm and woody sound” when played clean, but can blossom into “sweet overdrive when cranked”. It offers a phase-shifting harmonic tremolo and dual 6L6 power tubes pushing 40 watts through two 10” Celestion Custom Design speakers. It is available in September 2025.

Mustang Series: Mustang LTX50 & Mustang LTX100 ($299.99-$399.99 USD, £329-£419 GBP) 

Joining the “world’s most popular guitar amplifier line”, these new Mustang LTX models both have an intuitive user interface, 50 amp and effect models spanning a range of genres, 100 preset slots, a configurable signal path, and an integrated colour display with an on-board tuner. Available in both 50- and 100-watts, they also both house a 12” Fender special design speaker and support an optional five-button footswitch (LTX-5 Footswitch, $129.99 USD/£99.99 GBP). Built-in Bluetooth also lets players jam with tracks or get creative with presets through the Fender Tone app. Both amps and the footswitch are arriving in September.

Tone Master: Tone Master FR-12 Tweed ($649.99 USD/£579 GBP)

The FR-12 Tweed is a full-range, flat-response powered speaker made for use with digital guitar amp modellers and profilers. As more guitarists than ever are gigging with Quad Cortex’s (and soon the new Line 6 Helix Stadium models), this amp brings vintage aesthetic to players with a modern rig.

It’s covered in classic ‘50s-era tweed with a brown striped grille cloth, and “faithfully replicates every nuance of amp simulations”. It comes equipped with a 1,000-watt integrated amplifier, and features a three-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. This one lands in October.

To find out more or view more products, check out the Fender website.

The post Fender to launch new American Vintage, Mustang, and Tone Master amps this year – here’s everything you need to know appeared first on Guitar.com | All Things Guitar.

Metallica are the biggest metal band of all time, with a career spanning well over 40 years, tens of millions of fans around the world and more than 150 million album sales. But what would its members be doing if the band hadn’t become such a monstrous success?

“I’d be trying to form Metallica, still,” jokes frontman James Hetfield in a new episode of The Metallica Report, Metallica’s own weekly podcast [via Blabbermouth].

• READ MORE: See and hear the guitars of Kurt Cobain, John Mayer, Johnny Cash in our new Martin documentary

Hetfield adds that he’d also probably still be “looking for a Lars [Ulrich, Metallica drummer and co-founder]”.

“I’d be roading or working in a studio, hopefully helping make music somehow. Or graphic design. I love graphics. I love doing artwork. I also like doing trades stuff – craftsmanship with wood, with metal, building stuff. Maybe that would’ve turned into something, too. But music is a gift I’ve been given, so I’d still be trying to kick some doors down and get into it somehow.”

Given Hetfield’s legendary right-hand rhythm chops, he didn’t need to kick that many doors down for people to start seeing his musical gift – at least not 40 years worth of doors.

In terms of what bassist Rob Trujillo would be doing had he not joined Metallica in 2003, he replies: “It’s a good question. I would probably continue to play music. I love songwriting, so I always write songs, even just for fun. It’s something that I do, so maybe I would get into songwriting, become an independent songwriter, maybe get into production.

“The other thing that I actually originally started to do – my first job was in construction. So I always thought that maybe I would become a contractor. I think that my skills as an organiser, a coordinator could help. I don’t like lifting heavy things anymore.

“Back in the day, I could lift a couple sheets of drywall, no problem, up three flights of stairs. I did drywall. I did hardwood floors for a long time. Learning that stuff was great because now if I see a fixer-upper property or a house, I’m not afraid of it. I always see the potential of it because I’ve done that on my own and I’ve experienced that. So I’m not afraid to remodel or rebuild. [I’d] probably be a contractor – something in the trades. I’d be a tradesman of sorts.”

Metallica recently announced they’d be returning to Europe in 2026 on their M72 World Tour. For more information, head to metallica.com.

The post “I’d still be trying to kick some doors down”: James Hetfield says if Metallica never existed, he’d spend his life trying to make Metallica exist appeared first on Guitar.com | All Things Guitar.

$1,599/£1,845, taylorguitars.com

In recent years the acoustic amp scene has split neatly in two directions. On the one hand we have industrial looking units from AER, Fishman and Trace Elliott with rugged solid-state power stages, metal grilles and military grade rubber corners for the street-fighting acoustic musician. On the other hand we have exotic wood units such as the legendary (and legendarily priced) tube-based work of Humphrey amps (and recent collaboration with Henrickson) which are as close to a Frank Lloyd Wright staircase as they are to a guitar amp.

• READ MORE: Taylor 314ce Studio review: “Forget where the neck is made, this is every bit the US-made instrument”

Coming straight into the middle of those two worlds is the Circa 74: Taylor’s first-ever acoustic amplifier. It’s a solid-state amp, but designed to appeal to the sort of player who sees amplification as an aesthetic lifestyle choice – without the three grand pricetag of some other furniture-adjacent acoustic boxes. Seen here in a gently figured Hawai’ian Koa (a mahogany version is $400 cheaper) it’s a good looking box that will bring the room together nicely between your Noguchi coffee table and Eames Lounge Chair.

Taylor Circa 74: What is it?

You’ll notice that Circa 74 doesn’t say Taylor anywhere on it – that’s because it’s technically a sub-brand all of its own. It’s a similar situation to the recent Powers Electric guitars created by Taylor CEO Andy Powers.

For Circa 74, this time it’s Bob Taylor’s turn for a side project. The story goes that he wanted to put a stash of wood unsuitable for guitar making to better use, and so roped in pro player Terry Myers, electronics guru Tyler Robertson and woodworking wizard David Judd to help him design an amp.

Stories like that are the sizzle not the steak of course, so we’ll avoid going into any more detail than that and concentrate on the sounds and functionality on offer in this debut product instead.

Taylor Circa 74: In use

One of the challenges with acoustic guitar amplification is the instrument’s comparatively wide and complex frequency spectrum. This means that even a dedicated acoustic combo will often be relegated to duty as a stage monitor or abandoned entirely in favour of the stereo spread of a PA system. Really, does anyone actually need an acoustic amp?

In an appeal to versatility, the Circa 74 has two channels, each with its own EQ and reverb controls. There’s a master volume, input A has an XLR/guitar lead input but there is no 48v phantom power here though, so it’s dynamic mics only. Input B is guitar lead only – an understandable choice perhaps, but it feels like a missed opportunity to get ahead of the competition with potential for stereo mic use.

All outward appearances suggest that this amp will likely spend its life providing a gentle push to a solo or duo performance rather than dimed as part of a serious on-stage set-up. The absence of notch or phase filter buttons or a foot switchable mute all point to home/coffeeshop use as its primary stomping ground, as well as presupposing the use of an instrument with its own controls. There is, however, a choice of XLR or line outs if you do need to go big, and are not using in-ears.

The controls are based around a three-band EQ – no surgical parametric frequency sculpture here. There is one room reverb choice for both channels and you get to choose how much of it you want. That’s it.

There is, however, an aux mini jack-in and Bluetooth functionality, so you can listen to music or play along. It also comes with a gentle angled wooden stand for improved projection and, let’s not kid ourselves, because it looks nice.

Taylor Circa 74: Sounds

Despite the fact that this is a Taylor amp, I cue up my Casimi C1 signature model with an internal K&K passive pickup to give the Circa 74 its first run through. Helpfully Taylor does include some guidance (just scan the QR code on the back) to help you find a workable sound with a variety of different pickups, but personally I’d rather spend a moment twiddling knobs to learn how the EQ bands interact – in tone there are no shortcuts.

With all controls at noon we have enough push to fill a small room. Raising the volume further does bring up the matter of positioning. If I sit too close then I’m in danger of spiralling off into feedback – too far away and the sound gets a little cloudy, and in larger rooms I’d be worried about things getting mushy; especially with added reverb.

The Circa 74 features a single 10” speaker. That’s it. Mono. No tweeters, no acoustic ports. As such any sense of spread is once again at the mercy of the room. The harder you push it the more noticeable this becomes.

In standard tuning the amp handles things as well as I’d hope with a clear top-end sizzle. Does the wooden body make any sonic difference? Possibly, but that’s beside the point. I know the plugged-in voice of my guitar reasonably well and this is a decent fingerstyle sound – if not as immediately responsive as I’m used to.

A good test of any acoustic amp is the way it handles drop tunings. While the Circa 74 was reasonably happy in DADGAD – go any lower and things begin to get unruly. Once we start entering Orkney/Drop C territory then the combination of soundboard sensitivity and a lack of parametric EQ means that an indistinct bottom end is all but inevitable.

Taylor Circa 74: Should I buy one?

The question, as is often the case with acoustic guitar amps, is who exactly this amp is for – and with the Circa 74 it’s certainly a layered one.

The most serious solo acoustic guitarist on steel or nylon strings is very likely to be using a hybrid two-output pickup system, which would take up both channels, removing the possibility of using a mic for talking to the audience.

A singer-songwriter who is fine using dynamic mics only while strumming along might find this serves their needs for smaller gigs. Likewise for a guitarist/singer duo this might well be the very thing. Interestingly this is a really great amp for a clean jazz archtop sound. Which is a nice bonus.

Chances are, you’ll know as soon as you see the Circa 74 if you want one. And if you do then the chances are your expectations are likely to match the intent with which it was originally designed. Complaining that it doesn’t shake the rafters or is too genteel to be lugged around from venue to venue is rather like lamenting the off-road capabilities of a Jaguar E-Type.

What this amp does very well is bring a touch of aesthetic class to an intimate acoustic context. It is streamlined and easy to use (the glaring oversight of a lack of phantom power notwithstanding) and looks good wherever you put it. Like a modern phonogram – joyfully anachronistic, completely impractical and a lot of fun.

Taylor Circa 74 amp: Alternatives

It’s certainly not going to win any beauty contests compared with the Circa 74, but the Fishman Loudbox Performer BT ($930/£849) dominates the mid-price end of the acoustic amp market, and in truth there’s not a lot occupying the space between the Fishman and the big beasts of AER’s Acousticube 3 ($3,299/£2,999) at the top end of the market. It could well be that this is a niche where they can make some hay…

The post Taylor Circa 74 Koa review: “Brings a touch of aesthetic class to an intimate acoustic context” appeared first on Guitar.com | All Things Guitar.

Fender has unveiled a vast range of new products for the second half of 2025, including, most notably, 10 new additions to Squier’s vintage-inspired Classic Vibe line.

Elsewhere, the Big F has introduced three new pedals to its stompbox lineup: two additions to the Hammertone range and the new Strobo-Sonic Pro Tuner.

• READ MORE: The Line 6 Helix Stadium introduces “entirely new modelling methodology” – is it coming for the Quad Cortex crown?

New Hammertones

For the uninitiated, Fender’s Hammertone pedals offer a rugged design and unmistakable Fender tone at a price point that doesn’t break the bank.

The lineup previously consisted of nine pedals, offering most of the classic effects sought by guitarists: Space Delay, Flanger, Reverb, Fuzz, Overdrive, Distortion, Delay, Chorus and a Metal pedal for high-gain tones. Now, two new pedals join the lineup: the Breakup Drive and Boost.

The Breakup Drive arrives to deliver “responsive, tube-like overdrive tones” in the compact Hammertone form factor. Built around a JFET-based circuit, this pedal aims to replicate the feel of hot tubes pushed to the edge of saturation. It features two selectable clipping modes that respond differently to player input, as well as an expansive tone control and switchable pre-gain mid boost for additional tone shaping.

Meanwhile, the Hammertone Boost houses two distinct boost circuits in a single enclosure, with a Type switch enabling guitarists to select between a clean, op amp-based boost and a JFET-based boost which adds warmth and harmonic richness to their sound. The unit also features Treble and Bass controls for additional tone shaping.

Strobo-Sonic Pro Tuner

A new tuner pedal to Fender’s stompbox lineup comes in the form of the Strobo-Sonic Pro, described as an “ultra-precise strobe tuner anyone can use”, with ±0.01 cent tuning accuracy in a pedalboard-friendly form factor.

Other features include a large, high-visibility LED display with auto brightness dimming, as well as two trackable tuning display modes. Strobe display mode offers “hyper-sensitive accuracy”, while needle display mode offers a more familiar tuning experience.

Elsewhere, side switches provide deeper control of reference pitch and three bypass modes: true bypass, buffered bypass and buffered always-on.

Pricing and availability

Price-wise, both the Hammertone Breakup Drive and Hammertone Boost clock in at $99/£75, while the Strobo-Sonic Pro is priced at $99/£95. All three pedals will be available from September 2025.
“At Fender, we’re always pushing the boundaries of what’s possible within the world of instrumentation – for players at every level,” says 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.”
Learn more about Fender’s new Hammertone pedals and Strobo-Sonic Pro Tuner.

The post Fender adds two new affordable Hammertone pedals and a new “ultra-precise” tuner to its stompbox lineup for summer 2025 appeared first on Guitar.com | All Things Guitar.

Line 6 has welcomed two new members of its Helix amp modeller line, and they’re the “most powerful and most flexible” yet.

The new launch includes the flagship Helix Stadium XL Floor and a streamlined version, the Helix Stadium Floor. They arrive just in time for the 10th anniversary of the original Helix, bringing a range of highly-anticipated upgrades with them including new modelling tech, cloning capabilities, and high-resolution touch screens.

• READ MORE: Buyer’s guide to the best compact multi-effects: sound-shifting units from Neural DSP, BOSS & Line 6

So, what exactly is this new modelling methodology? Details on exactly how it works are not too clear, but it’s called Agoura, and it replaces Helix’s HX modelling tech for improved authenticity when modelling physical amps, as well as offering increased accuracy when it comes to how amps respond to you.

There’s also a new engine for live shows called Showcase which can trigger MIDI changes, engage presets, and even automate lighting for your stage setup. They also have both WiFi and Bluetooth connectivity, and a new cloud-based cloning engine for making captures of your gear.

Further to this, the Stadium floorboards both have a ‘Hype’ control, which can essentially switch between “ultra-authentic” and “idealised” tone, so users can decide if they want that imperfect tube amp sound or something more clean and digital.

Though both models share a lot of the same features, there are of course some key differences which set the Helix Stadium Floor apart from its souped up XL counterpart. Let’s take a look at each:

What features does the Helix Stadium XL Floor have?

The XL is the most “comprehensive and integrated guitar processor ever created by Line 6”, according to the brand. It hosts a high-resolution 8” touch screen, 12 high-contrast OLED scribble strips, and a built-in expression pedal with toe switch. It also has supports up to four effects loops, four external expression pedals, four external amp control outs, and four drum trigger inputs. Prices start at $2199.99 USD.

What features does the Helix Stadium Floor have?

The Helix Stadium Floor also hosts an 8” touch screen and many of the same desired features. It is more streamlined without a fitted expression pedal and also scraps the OLED scribble strips, and halves the amount of effect loops, external expression pedals, external amp controls outs, and drum trigger inputs it can support, offering two of each. Ideal for those on a tighter budget, you get all the necessities in a neater package. Prices start at $1799.99 USD.

Eric Klein, Chief Product Design Architect, states: “Helix Stadium XL Floor and Helix Stadium Floor are in many ways a new type of product. In addition to featuring the best-sounding, most powerful, and most flexible processing Line 6 has ever offered, they can serve as performance workstations that aim to upend the way you approach playing – whether that’s writing and learning songs, jamming with friends, or controlling your band’s entire stage rig. And most of all, they’re fun to use.”

The Helix Stadiums certainly boast an impressive feature set, but will they dethrone the Neural DSP Quad Cortex, an amp modeller we rated 10/10, and called the “game-changing guitar product of the decade so far”?

You can reserve a Helix Stadium online and in stores from 25 June. The Helix Stadium XL Floor will be available from autumn 2025, with the streamlined version arriving in winter. Find out more over at Line 6. 

The post The Line 6 Helix Stadium introduces “entirely new modelling methodology” – is it coming for the Quad Cortex crown? appeared first on Guitar.com | All Things Guitar.