Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
Premier Guitar
Martin Guitars Unveils Refreshed 16 Series
C. F. Martin & Co.® has launched the refreshed Martin 16 Series, a new lineup of all-solid-wood acoustic-electric guitars handcrafted in Nazareth, Pennsylvania.
Designed for players who want Martin tone with a look that reflects their individual style, the refreshed 16 Series pairs eye-grabbing gloss-top finishes with distinctive body shapes and stage-ready electronics.
Made to stand out visually, sonically, and creatively, the 11 new models give players more ways to express their sound, style, and personality. The lineup ranges from intimate, responsive 00Ls and warm, punchy sloped-shoulder Dreadnoughts to powerful Jumbos, a balanced Grand Performance cutaway, and a room-filling Grand Jumbo 12-string.
Across the series, players will find bold gloss-top finish options including Blue Denim, Cherry Cola, Cream, Black Smoke, and 1935 Burst, along with more traditional natural tops with a vintage tint on the GPC and Grand J 12-string.
The new 16 Series expands what players can expect from a Nazareth-made Martin, offering a wide range of body shapes, tones, and visual personalities. A major highlight is the DSS-16E, marking the first time Martin is offering a short-scale sloped-shoulder Dreadnought. With its 24.9" scale length and slope-shoulder body, it delivers a relaxed feel with a warm, woody, and punchy voice.
The compact 00L models bring surprising projection and a focused, intimate tone, while the Jumbo models deliver bold volume, deep bass, and commanding stage presence. The GPC offers balanced tone and comfort with a Grand Performance body and 000 depth, while the Grand J 12-string delivers lush shimmer, rich overtones, and room-filling sound to the lineup.
Every new 16 Series model is built with all-solid wood construction. Select models pair solid spruce tops with satin solid mahogany back and sides for punchy midrange, strong treble response, and controlled lows, while others feature satin solid East Indian rosewood back and sides for deep bass, rich overtones, and articulate highs.
Premium L.R. Baggs® Element™ electronics come standard across the lineup, giving players a natural amplified sound that’s ready for the stage.
Pricing for the new models is as follows:
00L-16E 1935 Burst: Street price $2,499.99
00L-16E Black Smoke: Street price $2,499.99
00L-16E Blue Denim: Street price $2,499.99
DSS-16E 1935 Burst: Street price $2,499.99
DSS-16E Black Smoke: Street price $2,499.99
DSS-16E Cherry Cola: Street price $2,499.99
GPC-16E: Street price $2,599.99
Grand J-16E 12 String: Street price $2,599.99
J-16E 1935: Street price $2,599.99
J-16E Black: Street price $2,599.99
J-16E Cream: Street price $2,599.99
To complement the launch, Martin is also introducing a small run of accessories and lifestyle merchandise inspired by the refreshed 16 Series, including Blue Denim and Cherry Cola steins, a Cherry Cola ringer T-shirt, a Blue Denim corduroy hat, and a Blue Fade leather strap—giving players and fans new ways to connect with the bold visual style behind the series.
For more information, visit martinguitar.com.
Lily Seabird is On Her Way
Lily Seabird’s new record, Lightspheres on Their Way, feels like a post-breakup magic mushroom trip in the woods, one you take when the world ceases to make sense, and you need to organize your pain into something you can make peace with. The third full-length from the Burlington, Vermont-based artist sways in a light psychedelic-folk breeze to begin, with a quiet argument with god by way of six-minute opener “The Pulley”: “I’ll ask you again, what pulls us through? Is it the fantasy of a kiss or the work that we must do? I’m frightened to keep going and even more frightened if I don’t.” “Bindlestiff” is all dusty Americana and folk-rock for a desert night, while “Election Day” and the seven-minute odyssey “Portal to the Past” rattle the walls with Crazy Horse abandon; Seabird’s and Rick Soszynski’s galloping guitars channel the wide-open spirit of Neil Young and Frank Sampedro.
As a collection, Lightspheres possesses a feeling of curiosity and play, in Seabird’s arrangements, her lyrics, and how she delivers them. Her voice shakes and trembles in that good way that has turned singers like Adrienne Lenker into the leaders of a new wave of alternative independent music, and the recordings are marked by the sort of intimacy and imperfection that many listeners crave in the age of algorithms. These qualities were come by honestly: Seabird recorded the album at her friend and co-producer Garrett Linck’s home in rural Maine in January 2026, where a woodstove provided the only warmth.
Seabird grew up between Upper Bucks County, Pennsylvania and California, her time split with her divorced parents. She moved to Burlington when she turned 19, planning to stay just for the summer. Eight years later, at 27, the city feels like a piece of Seabird’s character. Talking with her on a video call from her Burlington home, I perceive a level of friendliness and warmth that’s often sheared down when operating in big cities. “You go to other places, and people are always talking about ‘the music industry’ and who knows who and who’s at this show and blah blah blah,” says Seabird. “For us, it’s more like, ‘This is just something to do, and it’s fun.’” During the pandemic years, and even just during Burlington’s long, cold winters, Seabird and her friends stayed indoors and worked on art projects. She cut her first EP, Beside Myself, on a tape machine while stuck at home in the pandemic.
“I can communicate through the guitar in ways that I can’t exactly communicate through words.”
The new record’s title is a nod to how Seabird learned to process the growing churn of change and pain in her life: by viewing each creature, every discrete phenomenon we experience, as an always-moving essence on its own journey. (The idea is mirrored in how most of the songs came together on the road, in the back of a tour van or on a friend’s porch somewhere on the other side of the continent.) Seabird’s explanation is psychedelic and profound: “We’re all going somewhere,” she says, looking up to the ceiling. “You don’t know where you’re going. The thing that really inspires me most in my writing is how we all perceive time, and how that changes throughout the course of one’s life, but also throughout history, and how loss and change can alter that. It’s like when you think of a childhood memory and you’re sad that it’ll never be that way again.”
She continues. “Do you ever feel like you’re so caught up in the spiral of everyday life, this world we’ve created as human beings, and then you go outside and look up at the sky, and you’re like, ‘I am such a tiny little speck flying through space in an ever-expanding universe?’ As we change and move on and grow older, we’re all just going these different ways. God, I sound like a psycho. But it’s how I’ve come to accept these really hard truths of life. It’s also a way to keep going. It’s a way to have hope.” (Being a highly sensitive person has its ups and downs, Seabird shares later. “It also brings me to the place where I’m at now,” she says.)
Lily Seabird’s Gear
Guitar
Fender Telecaster
Amps
1973 Fender Champ (studio)
1974 Fender Bassman (live)
Effects
DenTone Double Alien Hate Fuzz
Death By Audio Reverberation Machine
Ibanez Tube Screamer
EarthQuaker Devices Plumes
Rick Soszynski’s Gear
Guitars
Parts Telecaster with P-90-style bridge pickup
Parts Telecaster with Firebird pickups
Amps
Vintage Fender Champ
RadioShack Realistic MPS-20 Portable Amplifier
Homemade tweed-style amp
Effects
Strymon Deco
Spaceman Effects Saturn VI Harmonic Booster
EarthQuaker Devices Bit Commander
It’s little surprise to learn that the Grateful Dead have shaped Seabird’s approach to not just music, but life in general, and the existential spirit of one of the band’s later-era songs, “Black Muddy River,” hung over the writing of Lightspheres on Their Way. On the chorus, Jerry Garcia offers an interpretation of the afterlife: “I will walk alone by the black muddy river / And sing me a song of my own.”
Chaos and freedom were the two feelings that Seabird channeled while writing and performing her guitar parts for the record. For years, she dealt with the gnaw of impostor syndrome, and the anxiety that men in the guitar world would assume that she doesn’t know how to play the instrument well. Recently, those feelings have dissipated, replaced with the knowledge that, whether in word or sound, Seabird is communing with a guiding creative force. “I can communicate through the guitar in ways that I can’t exactly communicate through words,” she says.
Most of her parts were recorded with her Fender Telecaster and a 1973 Fender Champ that she picked up from Mike’s Music in Cincinnati while on tour; there wasn’t any room in their Toyota Highlander, so Seabird held the amp on her lap. Mike’s Music is also where Seabird found her DenTone Double Alien Hate Fuzz, a Vermont-made boutique pedal with germanium and silicon circuits that can be run independently or together for “armageddon.” With volume levels turned down, radio signals came through on the germanium side—a spiritual and literal embodiment of the record’s driving motifs. The record ends and begins with the same sequence of notes, played by Soszynski, fading into and out of the darkness.
“It sounds like you’re tuning into some distant sonic station from the past, far away,” Seabird says. “You’re turning the radio dial exactly at the right time to be able to get this little glimpse from us, that we made in the middle of nowhere in Maine.”
Your Acoustic Never Sounded Better (Plugged In)
The two innovative brands join forces to build off Baggs' popular pickup system by overhauling its tone genome by increasing the bridge-plate sensors' responsiveness and enhancing signal processing producing even more warmth and clarity. Watch John Bohlinger test drive a L-00 & J-45, while Lloyd Baggs and Gibson's Mat Koehler discuss the product development and partnership.
HiFi DNA Advanced Bridge Plate Pickup System
Acoustic Guitar Bridge Plate Pickup with Preamp, 2 Bridge Sensors, Volume/Tone Controls, and Installation Jig
Keith Richards, Bruce Springsteen, Andy Summers, Julien Baker featured in Fender's New Telecaster Film
Fender's year-long celebration of 75 years of the Telecaster culminates with the release of The One That Started It All., a new 75-minute documentary film honoring the guitar that helped shape modern music and the artists who continue to redefine what it can sound like.
Featuring exclusive interviews with Keith Richards, Bruce Springsteen, Vince Gill, Sheryl Crow, Andy Summers, Joe Bonamassa, John 5, Julien Baker and more, the film brings together generations of artists who have each made the Telecaster entirely their own -- capturing the remarkable range of sounds and styles that have come from one essential design.
“Jeff Beck played one. Pete Townsend played one. Steve Cropper played one. James Burton played one. That covered everything from rock music to soul music to rockabilly. And it was just the guitar for me,” says Bruce Springsteen in the film.
The film also looks beyond the artists to the people and craftsmanship behind the instrument, including Abigail Ybarra, Fender’s legendary master pickup winder who worked directly with Leo Fender and helped shape the sound of countless iconic instruments.
The One That Started It All. delivers an immersive look at where the Telecaster has been, and the artists who continue to take it somewhere new.
Recording King Revamps Dirty 30’s Parlor Guitars
Recording King has revamped the company’s Dirty 30’s Parlor guitars, offering five finishes, upgraded construction and electronics options in the beloved parlor line.
The new 7-Series Dirty 30’s models are the first new instruments from Recording King since the brand was acquired by St. Louis Music earlier in 2026. The new models retain the vintage swagger and adventurous, play-anywhere vibe of the earlier Dirty 30’s parlors, but benefit from elevated materials and construction, such as wood selection, inlays and bracing architecture. Acoustic-electric versions feature the Recording King Gold Foil Pickup for even more classic cool, with a clean and effortless plugged-in tone.
Key features include:
- 5 Unique Finishes: Mahogany, Black, Vintage Burst, Arctic Blue, Red White & Blue
- Spruce, Mahogany and Maple Construction
- Mahogany Neck, 12th Fret Dove Tail Joint
- Vintage Style Tuners with Ivory Buttons
- PPS Saddle, Nut & Bridge Pins
- Acrylic Fingerboard Inlays
- Fully edge bound with Herringbone Purfling (Except R/W/B Color)
- Acoustic-electric models fitted with RK Gold Foil Soundhole Pickup
The revamped Dirty 30’s Parlors serve as the first product introduction for Recording King’s new chapter with St. Louis Music and the company has more launches coming soon.
Recording King’s Dirty 30’s 7-Series Parlors all-acoustic models carry a $239.99 street price; the acoustic-electric models carry a $279.99 street price. For more information visit recordingking.co
Avantone Pro introduces GTR-100 Amp For Guitar Modelers
Avantone Pro has launched the GTR-100, a two-channel Class A/B power amplifier engineered specifically for guitarists using modern amp modelers and effects processors. Designed to faithfully translate carefully crafted tones from guitar modelers to the stage, the GTR-100 delivers high-headroom, transparent amplification without the coloration, weight, or maintenance demands of traditional tube rigs.
At the core of the GTR-100 is a solid-state Class A/B topology that delivers clean amplification that preserves the integrity of modeler-based tones while providing substantial output power — up to 140 watts per channel (4 Ω) or 245 watts in bridged mono mode (8 Ω). Switchable Line and Inst (instrument) inputs ensure optimal impedance matching whether connecting directly to a modeler, pedalboard, or standalone stompbox.
“The GTR-100 was designed for players who have fully embraced modern modeling platforms but still need reliable, high-performance stage amplification,” says Avantone Pro’s Seth Berman. “It delivers the power and clarity required for live performance while maintaining the exact tonal characteristics users have dialed in.”
The GTR-100 is built to integrate seamlessly into contemporary guitar rigs. Its stereo inputs and outputs allow players to bring stereo effects like delays and modulation into live performance environments. A switchable 4-band EQ provides precise tonal shaping to adapt to varying venues, while independent channel Volume controls offer granular output balancing.
For direct connectivity, the GTR-100 includes XLR THRU outputs with optional analog Cab Sim (cabinet simulation), enabling users to send a polished, mix-ready signal directly to front-of-house systems or recording devices — eliminating the need for microphone placement on speaker cabinets. A comprehensive 14-stage input/output metering system provides clear visual feedback for gain staging and signal integrity.
Housed in a compact and lightweight 1U rackmount chassis, the GTR-100 is engineered for durability and portability. Reinforced metal handles extend beyond the front panel controls, helping protect knobs and switches during transport. Rear-mounted rack rails simplify cable management in touring rigs, while a low-noise cooling fan ensures reliable thermal performance without introducing unwanted noise.
Additional protection circuitry is indicated via front-panel LEDs, alerting users to conditions that could potentially impact the amplifier or connected speakers — providing peace of mind in demanding live environments.
Key features include:
• Two-channel Class A/B power amplifier optimized for guitar modelers
• 100W per channel @ 8 Ω / 140W per channel @ 4 Ω / 245W bridged mono @ 8 Ω
• Switchable Line/Inst inputs for flexible connectivity
• Stereo operation with independent channel Volume controls
• Switchable 4-band EQ for venue-specific tone shaping
• XLR THRU outputs with optional analog Cab Sim
• 14-stage input/output metering for precise level monitoring
• Lightweight, rugged 1U rackmount design
• Low-noise cooling fan and protection indicator system
The Avantone Pro GTR-100 carries a street price of $599.00. For more information visit: https://avantonepro.com/en/products/gtr-100
Supercool Pedals Spritz! Saturator Review
Supercool Pedals, based in Peterborough, Ontario, released the original Spritz compressor, a simple 2-knob pedal, back in 2022. Earlier this year, builder Jamie Muir overhauled that design and released the Spritz! Saturator, adding a “tube simulation” overdrive circuit with its own discrete controls in addition to the familiar dual-knob setup. Like its titular drink on a hot summer afternoon, the Spritz! Saturator is a refreshing, invigorating treat.
Drink Up
The Spritz! Saturator follows the Caffeine Boost and original Spritz as Supercool’s third pedal with art inspired by a delicious Italian beverage, and the company’s now-signature aesthetic cheek is a fun jolt to have on your board (and might give you a hankering for an icy aperitif). With two main knobs in the vein of the Ross Compressor and MXR Dyna Comp, the Spritz! keeps operation simple. But the added “tube simulation” feature, a simple JFET circuit activated by a small button perched atop the pedal’s face and tweaked with a mini knob between the two big guns, brings enhanced functionality to a familiar effect.
When the tube simulation circuit is engaged, its small control knob is illuminated, but manipulating the knob itself is a bit tricky given its location and size; I sometimes found myself wishing for a bigger knob, and a separate footswitch to kick on the saturation for lead or heavier moments.
Puttin’ on the Spritz
I liked the Spritz! Saturator on guitar, but I loved it on bass. With a Jazz-style bass through a Peavey solid-state head and Traynor 2x15 cab, the Spritz! popped my signal open like an oyster, trading a ruddy, dull exterior for a juicy, meaty interior. What I appreciated most was the presence it brought via the saturator’s full-frequency boost, which has a gentle peak in the midrange. It coated my signal in a pleasant, just-thick-enough layer of grit, and spring-loaded my bass lines. With the sustain and volume knobs at noon, each note had just a bit of extra bounce and shape.
On 6-string, I delighted in applying the Spritz! to classic power- and jangle-pop riffs, which rang out more sweetly and evenly for having the Spritz! in the mix. Compression isn’t in my usual pedal rotation, but messing with the Spritz! made me wonder why; it was great fun to tear through Tom Petty and the Heartbreakers and Records songs with the squeeze and light gain sugarcoating everything. If I’d had a 12-string Rickenbacker on hand, I might never have gotten around to writing this review.
The onboard dirt from the tube simulation circuit was right up my alley. It felt pleasantly tweed-like in the sense that when it’s dimed, it sags and threatens to collapse in a way that feels wonderful under the fingers in addition to sounding great. The one knock I can muster against the Spritz! is that it could use a bit more output power. Depending on your rig and where you place the pedal, you might find unity level anywhere between noon and 3 o’clock on the volume knob. But that quality also primes it for end-of-chain usage, where it can level out unruly pedals, smooth out muddy EQs, and just generally tighten up your tone.
The Verdict
Supercool’s updated Spritz! is an instantly useful piece of kit for any rig or instrument. It covers a broad range of compression applications, and sounds swell no matter how you set it. The tube simulation function is a welcome bit of extended usability and produces a lovely growl at many settings. Compression will never be the sexiest effect on your board, but if you need a rock-solid, easy-to-use compressor that injects instant pro tone into your chain, Spritz! is a competitive option.
Carl Martin Introduces the CM Acoustic 300-Watt Amplifier
Carl Martin has unveiled the CM Acoustic, a 300-watt full-range amplifier developed for acoustic performers who need studio-quality clarity at stage volume. Developed and assembled in Denmark, it is designed to reproduce the natural character of acoustic instruments and vocals rather than impose the coloration of a traditional combo amplifier.
At the core of the CM Acoustic are two custom-designed 6.5-inch Carl Martin SU65147CM full-range drivers. The system preserves pick attack, harmonic separation and low-end definition as volume rises, delivering the controlled projection and clean headroom of a compact professional PA while retaining the immediacy and straightforward operation of a dedicated instrument amplifier.
Two independent channels make the CM Acoustic a self-contained performance solution for singer-songwriters and acoustic duos. The instrument channel provides gain, three-band EQ with a sweepable midrange from 220 Hz to 5.1 kHz, limiter, EQ bypass, reverb and volume. A balanced XLR microphone input with +48V phantom power handles vocals, while an AUX input, balanced XLR output, effects loop, reverb-mute footswitch connection and 35 mm pole mount support professional stage, studio and small-venue setups.
CM Acoustic highlights include:
- 300 watts of clean, dynamic headroom for acoustic instruments and vocals
- Two custom-designed 6.5-inch SU65147CM full-range drivers
- Two independent channels for instrument and microphone
- Balanced XLR microphone input with +48V phantom power
- Three-band instrument EQ with sweepable 220 Hz-5.1 kHz midrange
- Limiter, EQ bypass, reverb and dedicated channel controls
- Balanced XLR output, AUX input, effects loop and reverb-mute connection
- Developed and assembled in Denmark with warm wooden side panels
The Carl Martin CM Acoustic carries a street price of $1,299. For more information visit carlmartin.com.
Vox VFZ-1 Fuzz Review
In design and engineering terms, a vintage fuzz is a comparatively basic thing. And most of the earliest vintage fuzzes evolved from common ancestry. But as we’ve discovered in the intervening years, even small differences in a simple design can mean profound shifts in performance and personality.
The first Tone Bender, the MK I, for instance, was a close relative of the Maestro FZ-1 (of “Satisfaction” fame.) The MK II was a more potent evolution—made most famous, probably, by Jimmy Page. But in between those releases, the Tone Bender took an interesting turn. The MK 1.5, as it’s now known, simplified by shedding a transistor. The change didn’t last long, but it proved to be an enduring platform, because the Tone Bender MK 1.5 is essentially a sibling of the Fuzz Face, Vox Distortion Booster, and the Italy-made Vox Tone Bender—which, collectively, could be the most recorded fuzzes of the 1960s. This design is also the foundation of the new Vox VFZ-1. Where the original MK 1.5 used germanium transistors, the VFZ-1 employs a pair of more stable silicon transistors. But it also adds bass and treble cut controls, as well as a switchable crunch mode (which works, more or less, just like turning your guitar volume down.) It’s a versatile circuit that reveals how flexible the MK 1.5 is as a fuzz foundation. It also reaffirms, in many cool ways, how those little changes can add up to real differences.
Silicon Cornerstone
Germanium versions of the Tone Bender MK 1.5 and Fuzz Face are rightly revered for their dynamic range and drive characteristics. But silicon Fuzz Face variants are very cool in their own ways. Jimi Hendrix and David Gilmour sold about seven gazillion records on the strength of silicon Fuzz Face tones, after all. That sound is recognizably the foundation of the Vox VFZ-1’s voice. At its core, it’s meaty and assertive in the high-mid range, with a growly, contoured low-mid accent. It sounds great with single-coils, and spectacular with humbuckers, which tame its spikier tendencies and shine a light on its capacity to meld sheer mass and throaty grit. Imagine a bellowing Orson Wells as a guitar/fuzz combo and you wouldn’t be far off. Its responsiveness to guitar volume and tone attenuation and touch dynamics is impressive, too. It may not be in a germanium Fuzz Face’s class in this regard, but you can definitely summon sparkly low-gain to near-clean tones via these techniques.
Range Rover
The VFZ-1’s utility is enhanced by the simple tone cut and bass cut controls, and both can be transformative depending on your aims. I had the most fun removing as much top end as possible with the tone cut, and letting the bass flow freely via a full-counterclockwise bass cut setting. The sounds produced at these settings don’t quite have Big Muff weight, but they’re close. In fact, if I was casting a fuzz for a desert drone rock role but needed a new twist on the theme, I would be thrilled to use this VFZ-1 setting with a humbucker to achieve that aim. You can still summon detail and shading with the guitar volume and tone controls in this setup, but the results are more guttural and less buzzy than you’d expect from a Tone Bender or silicon Fuzz Face.
The Verdict
Burly, blazing, scuzzy, and smooth, the Vox VFZ-1 is a genuinely exciting alternative to both the silicon Fuzz Face and Tone Bender-type circuits. Indeed, it can play those roles, but can also step well out of type. It’s sturdy and stylish, and at just less than $149 offers impressive flexibility at a price that aligns with much less versatile vintage-style fuzzes.
VFZ-1 Fuzz
Fuzz Guitar Pedal with Volume, Fuzz, Tone Cut, Bass Cut, and Crunch/Fuzz Controls
Taylor Guitars Introduces Next Generation 12-Fret Grand Concert Models
Taylor Guitars has released five new Next Generation 12-fret Grand Concert models: the PS12ce 12-Fret, K22ce 12-Fret Special Edition, 712ce 12-Fret, 552ce (12-String) and 512ce 12-Fret. Spanning an array of tonewood pairings and appointment packages across Taylor's 500, 700, Koa and Presentation Series, the lineup pairs the playing comfort of the 12-fret design with a warm, articulate voice.
Combined with the Grand Concert's compact body and 24-⅞-inch scale length, the 12-fret configuration — in which the neck meets the body at the 12th fret — creates a hand-friendly playing experience, with a more compact relationship between the player’s hands, easier fretting, and a relaxed, responsive string feel. Because of the 12-fret connection, the bridge shifts closer to the center of the lower bout, changing how the soundboard responds to string energy and contributing to the 12-fret’s distinctive tonal character.
“The bridge placement lets the soundboard move more efficiently,” said Taylor Chief Guitar Designer, President and CEO Andy Powers. “That translates into a warmer tone, a stronger midrange, longer sustain and surprising projection, all wrapped in a compact, lap-friendly body that’s comfortable enough for hours of playing and versatile enough for virtually any style.”
Those benefits are especially pronounced in the 12-string/12-fret Next Generation 552ce, which is sure to impress players with its remarkably comfortable fretting. Likewise, Taylor’s double-mounted string anchoring system for 12-string guitars (in which each string pair is secured under a single bridge pin) ensures a consistent break angle for the strings across the saddle, yielding a more consistent voice across each course.
The Next Generation 12-fret Grand Concert models incorporate Taylor’s latest Next-Gen design innovations: the patented Action Control Neck™, scalloped V-Class® bracing and Claria™ System electronics. (The 12-string 552ce features standard V-Class bracing to accommodate the added string tension.)
The Action Control Neck enhances sustain, warmth and resonance while allowing players and technicians to adjust string height on the fly, making it easy to dial in the perfect feel and adapt to changes in climate, specific musical applications or unique playing styles. Scalloped V-Class bracing bolsters sonic depth with improved open-string richness and enhanced low-end presence while preserving the hallmark pitch accuracy, volume and sustain of the original V-Class platform. The Claria System pairs a reimagined under-saddle pickup with a proprietary preamp to produce natural, reliable amplified tone in live settings, with intuitive soundhole-mounted controls that include a new Mid-Contour knob for effortless tone shaping.
All five models feature a 24-⅞-inch scale length and a cutaway body.
NEXT GENERATION 512CE 12-FRET (MAHOGANY/WESTERN RED CEDAR)
A must-play model for fans of mahogany and cedar, the 512ce 12-Fret pairs Western red cedar with mahogany for a warm, intimate voice with rich midrange focus and exceptional touch sensitivity. Cedar responds effortlessly to a light touch with sweetness and nuance, while mahogany adds woody definition and earthy character — a natural fit for fingerstyle, blues, roots music and singer-songwriters.
- White binding (body), black binding (fretboard)
- Green abalone rosette
- Italian acrylic Meridian inlays
- Faux tortoise pickguard
- Taylor slot-head nickel tuning machines, ebony buttons
- Gloss body finish, satin neck finish
- Next Generation 512ce 12-Fret is priced at $2,999
NEXT GENERATION K22CE 12-FRET SPECIAL EDITION (HAWAIIAN KOA)
This all-koa Next-Gen 12-Fret Special Edition delivers a woody voice with loads of midrange swagger that opens up over time, rewarding players with added sweetness and resonance. Select-grade Hawaiian koa showcases striking grain and color variegation, complemented by iridescent shell appointments and a rich shaded edgeburst that wraps the entire guitar.
- Indian rosewood binding (body, soundhole), ebony binding (fretboard)
- Paua/Indian rosewood rosette
- Mother-of-pearl GA-LTD inlays
- Dark-stained sycamore pickguard
- Taylor slot-head nickel tuning machines, ebony buttons
- Shaded edgeburst gloss finish (entire guitar), satin neck
- Next Generation K22ce 12-Fret Special Edition is priced at $4,499
NEXT GENERATION 712CE 12-FRET (INDIAN ROSEWOOD/WESTERN RED CEDAR)
Pairing a Western red cedar top with Indian rosewood back and sides, the 712ce 12-Fret produces a richly textured voice with lush overtones, deep lows and piano-like trebles. From delicate fingerstyle to full, open-chord accompaniment, it offers a colorful tonal palette for players seeking depth, nuance and exceptional responsiveness in a compact form.
- White binding (body), black binding (fretboard)
- Green abalone rosette
- Green Abalone Reflections inlays
- Faux tortoise pickguard
- Taylor slot-head nickel tuning machines, ebony buttons
- Gloss body finish, satin neck finish
- Next Generation 712ce 12-Fret is priced at $3,399
NEXT GENERATION 552CE (12-STRING; MAHOGANY/WESTERN RED CEDAR)
The most approachable and versatile 12-string in the Taylor lineup, the 552ce pairs a cutaway Grand Concert body with an accessible 12-fret design for a uniquely intimate, easy-playing experience. A cedar top lends warmth and touch sensitivity, while mahogany back and sides enhance the octave shimmer with focus and midrange clarity. Standard V-Class bracing dials up projection and sustain for a supremely balanced 12-string voice suited to songwriting, recording and live performance — and an inviting entry point for 6-string players curious about the 12-string sound.
- White binding (body), black binding (fretboard)
- Green abalone rosette
- Italian acrylic Meridian inlays
- Faux tortoise pickguard
- Taylor nickel mini tuning machines, paddle peghead
- Gloss body finish, satin neck finish
- Next Generation 552ce 12-Fret (12-String) is priced at $2,999
NEXT GENERATION PS12CE 12-FRET (HONDURAN ROSEWOOD/SINKER REDWOOD)
The ultra-premium expression of the 12-fret experience, the PS12ce 12-Fret showcases Taylor’s finest craftsmanship, tonewoods and visual artistry. Sinker redwood and Honduran rosewood combine for inspiring warmth, bold projection and rich harmonic complexity, pairing soft-touch sensitivity with plenty of headroom. A comfort-enhancing radiused ebony armrest and an extensive suite of mother-of-pearl and paua appointments make it an instrument designed to be played — and treasured — for generations.
- Ebony binding (body, fretboard, soundhole)
- Paua rosette
- Taylor slot-head nickel tuning machines, ebony buttons
- California Vine paua and mother-of-pearl inlays
- Indian rosewood pickguard
- Shaded edgeburst back/sides, gloss body finish, satin neck finish
- Next Generation PS12ce 12-Fret (Presentation Series) is priced at $11,999
The Next Generation 12-fret Grand Concert models are available now through authorized Taylor dealers worldwide starting at $2,999. All models include Taylor’s Deluxe Hardshell Case. For more information on these new 12-fret guitars, visit taylorguitars.com. Follow Taylor Guitars on Instagram, Facebook, YouTube and TikTok.
SLIPKNOT Drop “ARSENAL” Single / Video
Today SLIPKNOT unleash “Arsenal”, the first new song from the band in over three years. The anthemic release arrives with a music video directed by M Shawn Crahan - (clown), and stars Jackson White.
The culture of Slipknot has spread much farther than anyone could have predicted when nine guys from Iowa put on masks and uniforms, and began challenging the globe to keep up. The band’s influence can now be seen and felt in the underground, in those artists headlining rock and pop festivals across the world, and virtually everywhere in between. Across genres and subgenres, artists the world over are following in the footsteps that lead out of the US Midwest, and onto stages around the world. And all without an ounce of compromise, to anyone.
“Arsenal” deploys nearly every weapon Slipknot owns: pummeling dynamics, razor sharp vocals and lyrics, knifing keyboards, and riffs that can only be measured in tons. “I fought a f*cking god and the god lost,” frontman Corey Taylor proclaims, ripping his way across the track with a self-aware braggadocio, melding metal, punk and hip hop verses while summoning his roar from the seventh circle of hell. He’s serious when he throws off the weight of trend-chasing and spits, “I know I’m a hack and a has-been, but motherf*cker I’m a .45 and not a Mach 10, ”but he’s also playing around; ditto when he screeches the song to a halt, shouting at his bandmates and bulldozing the wall of sound they’ve been building. There’s a focused, compressed brutality to this song that displays the firepower they’ve honed over their career.
Nearly three decades in, it's notable that Slipknot still summon the drive, creativity and band connection required to make music like this. Their rise to becoming one of the greatest and most influential rock bands of the 21st century is marked by hardship, having weathered enormous personal tragedies and facing them head on, alongside their fans. Through it all, they’ve kept a fighting spirit that’s allowed them to keep innovating, and keep testing the ragged edges of their sound to see how much farther they can push it.
On “Arsenal”, Slipknot sound sharper than ever, the direct result of their commitment to the music, first and foremost. The track is an undeniable statement of strength in the face of diversity, and a new marker for the world to deal with and wonder how Slipknot was always - and still remains - so vital and modern.
Rig Rundown: Muse
PG’s John Bohlinger caught up with Muse at Lakewood Amphitheater outside Atlanta, where Matt Bellamy’s tech Chris Whitemyer and Chris Wolstenholme’s tech Jon Ashworth walked through a pair of rigs built on custom instruments, retired parts stockpiles, and a lot of MIDI. Have a look at some quick highlights below, and tune into the new Rig Rundown for all the details.
Brought to you by D’Addario.
Number One
Bellamy’s main Manson MB gets played at least half the show—ash body, maple neck, rosewood board, with a Manson humbucker at roughly PAF output and a Sustainiac. Strings are Ernie Ball .009–.048 in standard tuning, and Whitemyer labels the controls so Bellamy doesn’t have to think about anything but singing. The bridge is a Floyd Rose Low Pro, long out of production: this one came off a 2008 guitar, and when Floyd Rose wound the model down the crew bought up the last of the parts.
Plug In Baby
Bellamy’s custom Manson mirror guitar has an MXR Phase 90 and a ZVex Fuzz Factory built in, with no external controls—the Phase 90 lives at about 11 o’clock, set from the back. The Fuzz Factory’s gate and volume are onboard, so Bellamy can pitch it like a whammy. It runs single-coils, which suit the fuzz better, and two 9-volts, one per circuit.
The Kaoss Truth
Everyone assumes there’s a Kaoss Pad in this Manson. There isn’t—it’s the controller only, sending MIDI to a Kaoss Pad in the rack for pitch-shifted synth textures blended with the guitar. Whitemyer buys every model that turns up on eBay. It also carries a Sustainiac, a humbucker, volume, tone, and a hardtail bridge.
Lower Than Vai
New for this tour: an 8-string Manson tuned E, B, then standard E–A–D–G–B–E. Basically, a guitar with two bass strings underneath it. No Sustainiac, no bender, nothing fancy; it comes out for two songs: “Unravelling,” and a new one.
Amps in a Box
There’s a Marshall JCM 25/50 Model 2225 onstage, but it’s there so Bellamy has something constant behind him while he sings. Everything else runs Fractal Axe-Fx III, fed from Shure wireless through a custom selector and an “effect gizmo.” Bellamy wanted his own amps and nobody else’s, so Whitemyer spent 63 days capturing roughly 35 of them, including Vox, Diezel, Laney, Orange, vintage Fenders, and an old 1938 Gibson. They’re almost always run in combination.
Outboard Holdouts
Only a few things live outside the Fractal: two Korg SSD-3000 delays in one drawer, another with two Strymon BigSkys, a DigiTech Whammy DT and a JHS Colour Box, and a third with a Boss OC-2, a DigiTech Whammy, a ZVex Fuzz Factory, a Keeley Fuzz Head, and a Korg Kaoss Pad. There’s also a Nord Modular G2 Engine, which handles the synth on “Map of the Problematique.” An RJM Mastermind GT sits above it all.
None More Red
Wolstenholme’s new Alusonic basses replace the Statuses he’d played for over a decade. The signature CW model boasts a roasted maple neck, sassafras body, and carbon fiber top and fretboard, with Hipshot hardware and everything else made in-house in Italy. The pickups are Alusonic’s own—a Stingray-style humbucker and a single-coil across five switch positions, four of which get used in a show, all level-matched well enough to swap mid-song.
Madness, Mark III
The “Madness” Status bass is on its third build. It started as a Misa Kitara grafted into a Status by Rob Green, moved to a Starr Labs iPad-based version, and now runs a Mosi Nova neck built into a Manson-engineered instrument with an XY pad, a MIDI merger, and a PC computer the size of a card deck inside it. Ashworth powers it up three songs early to let Windows boot.
Wolstenholme’s Rig
Wolstenholme’s bass goes out on Shure AD4D Axient Digital wireless system—four channels across two dual units—into a Radial JX44, which routes to a pair of Fractal Axe-Fx IIIs, one live and one as backup. The JX44 also feeds a stage tuner, so Ashworth can tune without unplugging anything. The whole rig comes down to four channels: a clean DI that goes straight to front of house untouched, a clean amp sound, and two different distortions. The Fractal only runs two amp models at once, so the distortions moved out to a pair of Darkglass Anagram pedals. Ashworth switches between sounds by turning outputs on and off rather than changing presets.
Two Keys, One Harp
The “Knights of Cydonia” intro is played on custom Lee Oskar harmonicas built with two keys in one, so Wolstenholme doesn’t have to switch mid-part. They’re made in limited-edition colors each season, and he throws them into the crowd when he’s done.
Question of the Month: How Important Is an Effect Pedal’s Looks?
Question: How important is an effect pedal’s looks?
Linnea Siggelkow (Ellis, Ethel Cain)
A: Ultimately, not important. I was just debating between two different overdrive pedals and ended up going with the less-cool-looking one, because it functioned the way I needed it to. But the truth is that if it had been really ugly, I probably wouldn't have bought it, so actually, ultimately kind of important.
Obsession: Though I’ve been playing guitar for most of my life, more recently I’ve mainly been playing bass. I’m currently obsessed with this Fender Vintera II ’60s P Bass that I’ve been lucky to get to play on tour this year!
Luke Viertel, Director of Digital Publishing
A: As the guitar-effect form factors and functions become more ubiquitous each year, I find that how an effect pedal looks and feels on your board is more important than ever. A proper and beautiful design indicates attention to detail and usually bodes well for the eventual quality of the product. Plus, music is art, and that should rightfully extend to the tools used to create it!
Obsession: After playing keyboards steadily in jam and improvisational bands for 15-plus years, a recent relocation has my gear in storage and cases while we get settled. So, I’m finally doing the Phish deep-dive I’ve been planning for ages. Call me weird, but at least go listen to ’97 at The Spectrum first.
Charles Saufley, Gear Editor
A: Style in design is vital. And to the extent that it can inspire joy, which can inspire creativity—yeah, a stylish pedal is very important. That doesn’t mean I don’t love functionality. Functionality brings happiness, too—especially when your stuff doesn’t break on tour. But when I’m in a studio and I get to plug in something that looks cool and sounds amazing, there’s an extra thrill. Over the years, Mu-Tron, Colorsound, EHX, and Death By Audio have all produced visionary devices that broke the rules in sonic terms, and are beautiful to behold.
Obsession: Eeriness. It’s fog season where I live, and I’ve had a lot of run-ins with the uncanny of late. I keep waiting for special agents Mulder and Scully to appear out of the corner of my eye. It’s weird, but good for writing music!
Positive Grid Announces Spark PEDAL
Positive Grid has introduced the Spark PEDAL, a compact amp and effects pedal that also adds a built-in looper and smart tone creation. This gig-ready rig makes it easy to bring the tone and power of Spark amps to live performances, rehearsals, home practice and recording sessions. Designed for electric, bass and acoustic players, it incorporates into any setup for fast, intuitive tone building with no learning curve.
The all-in-one amp and effects pedal can adapt to a wide range of playing scenarios: add it to an existing pedalboard to bring a full amp and effects rig into a current setup; connect directly to a PA system for a streamlined full rig setup; or use it as an audio interface for desktop recording.
Players who have a preferred amp can bypass Spark PEDAL’s amp modeling to use it as an effects processor in front of their existing rig. Guitarists can also play or practice silently using the stereo headphone out or jam along with their favorite music via a mobile Bluetooth™ connection.
Compact and lightweight, Spark PEDAL is also powered by rechargeable battery (up to seven hours per charge) and can be slipped into a gig bag to use anywhere, even at a moment’s notice.
Spark PEDAL runs on Positive Grid's HD Tone Engine, the same high-definition DSP architecture found in the flagship Spark 2 smart guitar practice amp. It delivers 33 amp models and 43 effects, plus access to more than 100,000 tones through Positive Grid’s online ToneCloud community. Players can easily load or use any of their previously saved presets from other Spark family products.
Multifunction knobs and heavy-duty footswitches offer easy amp and effects control. In Amp Mode, the knobs adjust Gain, Bass, Mid, and Treble. In FX Mode, they offer control over Drive, Modulation, Delay, and Reverb depth. Holding down the center multifunction knob will activate the built-in tuner. Users can also store six presets across two banks via the footswitches. Bright, color-coded LEDs indicate mode, preset and looper status plus battery level.
The footswitches also let musicians use Spark PEDAL’s 60-second built-in looper to record, overdub and undo loops without having to navigate menus during a looping session.
The free Spark app extends Spark PEDAL's capabilities. Text to Tone allows the user to describe a phrase, song, artist or feeling and receive matching tone suggestions to tweak or save. The Build Your Rig feature lets players construct a signal chain from a library of amps, cabinets, and effects and fine tune them. Auto Chords displays guitar chords in real time as a song plays through the app, and ToneCloud provides access to tones shared by musicians worldwide. If desired, users can also control the built-in looper using the app.
Spark PEDAL is available for a street price of $199 at www.positivegrid.com/pages/spark-pedal, authorized music retailers and Amazon.
Mannheim Rosengarten is Turning Into A Guitar Lover’s Paradise
From September 26–28, 2025, the Mannheim Rosengarten once again transformed into Europe’s hub of guitar culture. The GUITAR SUMMIT 2025 – now in its seventh edition – exceeded all expectations, drawing 14,600 visitors, more than ever before. The share of international guests rose once again, and around 30 percent of attendees experienced the Guitar Summit for the very first time.
The audience was as diverse as the guitar scene itself: curious newcomers, active musicians from every genre, and seasoned players who have witnessed decades of music history. Autograph hunters got plenty of signing sessions – with long lines and a warm, welcoming atmosphere.
The exhibition floors on all levels were packed throughout the weekend. The booths reflected the state of the art: over 614 brands from more than 50 countries showcased the full depth of the market – from finely curated boutique instruments and hand-wired amps to cutting-edge solutions in digital amplification, effects, and software technology. Here, classics and innovations stood not in opposition but side by side.
A hallmark of the Guitar Summit is its workshops and masterclasses – and this year’s lineup delivered an unprecedented level of intensity and quality. Across 7 stages, there were 113 workshops and interviews, while the 25 exclusive masterclasses were mostly sold out in advance – giving fans the chance to experience international top artists up close. Notable guests included Tosin Abasi, Billy Sheehan, Philip Sayce, Misha Mansoor, Dweezil Zappa, Plini, Andy Timmons, Chris Buck, Petteri Sariola, Andy Wood, Martin Miller, Alex Skolnick, Kaki King, Rabea Massaad, The Bros. Landreth, and many more.
On the Rock Antenne Stage, renowned figures of the scene gathered for inspiring talks in a relaxed setting. The conversations – hosted in part by “Captain” Lee Anderton – were streamed live, reaching an even broader audience beyond the Rosengarten’s walls.
The concerts in the Mozartsaal marked the musical high points of the weekend. Friday’s program opened with Sophie Chassée, followed by standout performances from Petteri Sariola & Mike Dawes, Chris Buck & Cardinal Black, Kaki King, and The Bros. Landreth –
an evening that showcased masterful songwriting and dynamic range. Saturday brought a captivating contrast in moods: Wallis Bird with boundless energy, Yolanda Charles & Instra_Mentals delivering world-class groove, funk, and fusion, Philip Sayce setting the stage ablaze with raw blues-rock power and a signature tone – culminating in the Allstar Jam led by Andy Wood alongside Andy Timmons, Billy Sheehan, Frank Bello, Alex Skolnick, Martin Miller, Chris Buck, Ben Eller, and more − spontaneous, virtuosic, and real.
The GUITAR SUMMIT remains the ultimate platform, where the full picture of the instrument, genuine interaction with artists, and a true sense of community are not just expected, but deeply felt.
The next GUITAR SUMMIT will take place from September 25–27, 2026, once again at the Mannheim Rosengarten. Don’t miss it – limited Early Bird tickets are on sale now! www.guitarsummit.com
Take a Thrill Ride with Keeley’s Tube Drive
If you’re the kind of guitarist that craves highly responsive overdrive—something that instantly responds to your pick attack and volume knob, like a well-tuned sportscar that hugs the road when you touch the wheel—Keeley Electronics’ new Tube Drive might be the vehicle of your dreams.
The powerful dual-overdrive pedal packs two distinct voices into one rugged, smart-looking enclosure. On one side, you get a genuine high-voltage (168V) vacuum tube overdrive featuring a 12AX7 tube. On the other side, Keeley’s iconic Super Phat Mod—a beefed up take on the beloved blues driver circuit.
You can use one circuit at a time or combine them for even more crazed fun. And with a simple foot gesture, you can switch effect order on the fly. “So, the pedal truly has four different sounds,” says Robert Keeley. “You have the tube channel, the drive channel, and then—depending on the order you choose—you have two other stacked-drive sounds. And this thing is just a dynamics monster,” he laughs. “It feels and sounds so natural when you control the dynamics with the volume on your guitar.”
Buckle Up and Blaze Away
Built from start to finish in the company’s Oklahoma City headquarters, the Tube Drive is Keeley’s very first tube pedal, and it explores an intriguing new direction as the company celebrates its 25th anniversary.
The new pedal delivers a gargantuan array of tones—ranging from subtle, edge-of-breakup overdrive to full-throttle fury—via a highly approachable control set. Each channel is activated by a dedicated footswitch and offers three control knobs: output level, gain, and tone. It’s all super intuitive, with no need to do a deep dive in an instruction manual—just plug in and start riffing.
With its straightforward layout and specially voiced circuitry, it’s strikingly easy to find your sound. It only takes a few minutes to dial in everything from warm, touch-sensitive tube grit to uber-thick, stacked overdrive tones. “We carefully picked the resistors to shape the bass response in such a way that it keeps all of your low notes nice and tight,” Keeley notes. “We wanted something well defined that wouldn’t get muddy. That is so important to the whole charisma of this pedal.”
About that single tone knob: “Yeah, it is a double-edged sword,” Keeley says. “On one hand, you have to make it simple so that people don’t have control-knob phobia. And you need to make sure that you offer enough range, so they can brighten their tone without making it shrill, but also make it nice and warm if you want. It’s a balancing act.”
Like a high-powered sportscar, the Tube Drive offers a streamlined, stripped-down aesthetic that emphasizes performance over posturing, while still benefitting from important hallmarks of the Keeley line—there are rugged construction and modern touches, such as soft switching and the ability to easily choose between true bypass and Keeley’s silent buffered switching.
Designed By Ear
As the company’s first tube pedal, the Tube Drive marks a milestone in the company’s expanding line of overdrive pedals created by Keeley Electronics’ design team. Craighton Hale (lead designer and engineer), Aaron Pierce (the “golden ears” of the team), and Aaron Tackett were all involved in the development of this pedal—a meticulous process even by Keeley’s exacting standards.
“Yes, it took us a long time,” Keeley nods. “We've been working on it for two-and-a-half years, largely due to all the tuning that we did by ear.” The company has eagerly embraced analytic audio measuring instruments in the design and building process, and for this reason Keeley’s lineup of pedals maintains a remarkably consistent tone and quality.
But there is no substitute for the most important element in pedal design: the human factor.
So, through multiple iterations and modifications, the team painstakingly nailed the Tube Drive sound. Keeley admits it was a challenge, but the results have paid off. “One, it has a huge dynamic range. And two, we tuned it by ear instead of by designing something very conventional. You’ll get the best results by focusing not just on what sounds good in your mind, but on what sounds good when you build it and put it together.”
And of course, there’s the added challenge of creating an entirely new design/build approach around the organic, sometimes unpredictable vacuum tube.
“Yes, the world of tubes is very strange,” Keeley laughs.
Gentlemen, Start Your Tubes!
At the center of every Tube Drive pedal is a premium Keeley-branded 12AX7 tube, carefully burned-in, fully tested, and proudly displayed behind a custom tube shield brandishing the stylized “K” of the Keeley logo. Keeley has invested in machines to systematically test each tube and ensure that each pedal sounds just right.
The high-voltage internal circuit—168 volts—is a key factor in the pedal’s sound. As Keeley puts it, “You have to get the tube properly cooking for it to do its magic. At that voltage it creates a whole different world of distortion. You’re going to get improved response and dynamics. So, by moving up to such a significantly higher voltage, that puts us in a much different class than most pedals. I think you get a unique tone print that’s very satisfying.”
The tube is held in place with a rubber grommet, so it’s always securely protected, and microphonics are minimized. “The rubber grommet keeps all the microphonics out of the signal,” Keeley says. “And even when you put it in a position where the drive channel’s gain comes after the tube—using the tube circuit feeding into the drive circuit—it’s still very microphonic free.”
If necessary, owners can easily replace the tube themselves. No need to take it to a tech—it’s fully self-service. But Keeley notes that it’s unlikely you’ll ever need to replace a worn-out tube. “I fully expect our tubes to last 10,000 hours. That’s 3,300 three-hour jams. I mean, you could have three-hour jams every night for 10 years before I expect these tubes to go bad. And I’m offering a two-year warranty on all our tube products.”
This Ain’t Keeley’s First Tube Rodeo
Robert Keeley’s first experience with tubes came before he even launched his pedal company. “In about 1996 or 1997, I got a book by Gerald Weber of Kendrick Amplifiers. I read it and was hypnotized by tube amps. And long before I ever thought about pedals, I got into modifying Fender tweed amps according to Weber’s books. That’s how I eventually came up with modding for pedals. Tube amps are where it all started. Eventually, an idea came to me in April of 2001. I thought, ‘Hey, I should build my own compressor since I can't afford these Ross compressors on eBay.’ I got parts from the military surplus and hand-wired a little Radio Shack perf board. That’s how it all began. I was into tubes way before pedals.”
The release of the Tube Drive and his return to the world of vacuum tubes represent a full-circle moment in Keeley’s journey—as well as a new chapter in his pedal design process. “This pedal comes out September 1, 2026, and that's the 25th anniversary of the company, which I launched in September of 2001. It’s funny how that works out.”
As Keeley Electronics begins its next 25 years of innovation, the new Tube Drive pedal offers a perfect bridge between the past, present, and future—combining classic tube technology with cutting-edge design and construction.
Do yourself a favor and rev up a Tube Drive and take it for a spin. Your ears will thank you.
Fender Introduces Squier Paranormal Troy Van Leeuwen Telecaster XII
Fender has introduced the Paranormal Troy Van Leeuwen Telecaster® XII, a new Squier® signature model developed with the acclaimed guitarist to bring the expansive sound and unmistakable character of a 12-string Telecaster to a new generation of players. Inspired by Van Leeuwen's genre-defining work with Queens of the Stone Age, A Perfect Circle, Failure, Gone Is Gone and The Armed, the guitar captures the shimmering ambient textures, layered harmonics and unmistakable bite that have become hallmarks of his playing.
For more than three decades, Van Leeuwen has built a reputation as one of alternative rock's most inventive and versatile guitarists. His second signature model with Fender captures that creative approach, offering players a unique instrument designed to inspire everything from expansive textures to powerful, chord-driven riffs.
“When creating my second signature with Fender, I wanted an instrument at an affordable price point that could inspire anyone who’s ever been curious about playing a 12-string,” said Troy Van Leeuwen. “Having worked with the team for over a decade, they easily connected with my vision for a guitar that’s designed for functionality, aesthetically striking, and would sound great right out of the box.”
“Troy has always approached the guitar differently. He hears texture, harmony and space in a way that’s uniquely his own — and with Troy’s impeccable sense of style, we knew the guitar had to look every bit as cool as it sounds,” said Justin Norvell, Chief Product Officer, Guitar. “It captures his creative spirit from every angle while making the magic of a 12-string Telecaster more accessible than ever for the next generation of players.”
The Paranormal Troy Van Leeuwen Telecaster® XII takes inspiration directly from his own Paul Waller Fender Custom Shop Masterbuilt 12-string Telecaster, combining signature styling with thoughtful, player-focused design. Finished in a striking custom Copper Age finish, the guitar features a resonant Nyatoh body, a custom Telecaster® XII headstock and a player-friendly 12-string top-load/string-through bridge that makes restringing easier while improving tuning stability.
Key Features Include:
- Custom Copper Age Finish: A distinctive custom finish that gives the instrument a bold visual identity worthy of Van Leeuwen's unmistakable style.
- Fender Designed Alnico Telecaster single-coil pickups for expanded sonic range – all without sacrificing that signature Tele bite.
- Custom Telecaster® XII Headstock: A unique headstock design that pays homage to the classic Telecaster XII while immediately setting this signature model apart.
- Player-Friendly 12-String Bridge: A top-load/string-through bridge makes restringing easier while improving tuning stability—addressing one of the biggest pain points for 12-string players.
- Nyatoh Body: Provides a resonant foundation that complements the guitar's rich harmonic character and dynamic response.
- Signature 12-String Voice: Delivers shimmering harmonics, layered textures and unmistakable Telecaster attack, making it equally suited for atmospheric soundscapes and powerful rhythm playing.
The Squier Paranormal Troy Van Leeuwen Telecaster® XII carries a street price of $599.99. For more information visit fender.com.
The Warning: Falling Into Place
Twelve years ago, few could have predicted that Daniela Villarreal’s teenaged hobby would one day see her commanding the stage in major rock capitals around the world. Back then, the Warning were three sisters in Monterrey, Mexico—singer-guitarist Daniela (“Dany”), bassist Alejandra (“Ale”) and drummer Paulina (“Pau”)—having a School of Rock-style good time knocking around on Metallica covers. Soon enough, their homemade YouTube videos caught fire, and it wasn’t long before the group began appearing on international TV shows. Fast-forward to today, and the Warning are big-time stuff—they’ve issued a string of knockout albums and EPs, and they’re touring pros holding their own on bills with the likes of Muse, Foo Fighters, Def Leppard and Yungblud. Their newest album, Everything’s Falling, is a super fuzzed-out, industrial-tinged hard-rock doozy that could raise their stock even higher.
For Dany, looking back on those early daydreams makes her current reality seem both heady and deeply grounding. “There’s so much going on all the time, every day, so when I get a chance to think about it, it’s like, ‘Whoa, I can’t believe how far we’ve come,’” she says. “We’re visiting all these places and having fun, but at the same time, it’s so much work. That’s what surprised me the most, how overwhelming it feels.”
She pauses, then adds, “But we wouldn’t want it any other way. We know what it takes to make it, and we’re ready to take it all the way.”
hat ambition puts a massive weight on Dany’s shoulders. As the sole guitarist in a power trio, she’s tasked with creating the bulk of the band’s sonic footprint, all while stepping up to the mic as their primary vocalist. She admits that taking on a new member—or even a touring guitarist—would free her up to focus on singing and performing, but it’s not something the band is considering for the time being. “To bring in somebody else who isn’t a sister would feel very unnatural,” she says. “Doing what I do takes a lot of concentration, and I’d love to make things easier, but I kind of like the challenge, and I’m stubborn.”
“When we’re meeting in the middle—Ale’s trying to sound like me, and I’m trying to sound like her—that’s the sassiest part of the record.”
A practice routine just shy of punishing keeps Dany in tip-top performance shape. “I rehearse my guitar parts over and over till I don’t have to think about them,” she says. “I want everything to be automatic so I can get into the emotions I’m trying to convey.” Another solution is writing what she calls “festival songs,” built around mega-sized riffs and anthemic choruses geared toward maximum audience impact. “On this record, we asked ourselves, ‘How is this going to feel live? Is it going to make people jump up and down?’” she says. “That solved a lot of problems for the future me once we got out of the studio.”
There’s nothing subtle about Everything’s Falling—“Kerosene” is a high-velocity banger and “Ritual” froths and rages, while the Spanish-language “Ego” gnashes and snarls—yet there’s no rigidity in its bold power moves. It’s all delivered with the kind of intuitive finesse one would expect from a trio of siblings who are 100 percent dialed in.
Dany Villarreal’s Gear
Guitars
- PRS Custom 24 (standard tuning)
- PRS Custom 24 (drop-D tuning)
- Backup PRS Customs 24s in each tuning
- PRS Dany Villarreal Custom 24 Signature Astryx
- Fender Stratocaster baritone w/ black finish (B-standard tuning)
- Fender Stratocaster baritone w/ white finish (drop-A tuning)
- (Both Strats are loaded with Seymour Duncan JB/59 sets)
Amps & Cabinet
- Orange Pedal Baby 100 power amp
- Kemper Profiler Stage
- Mesa/Boogie 4x12 slant cab
Effects
- Mission Engineering EP1-KP-GN expression pedal
- One Control Looper
- Tallon Electric x Alphawolf The Noise
Wireless
- Shure Axient ADX5D receiver
- Radial SGI TX/RX line driver system
- Levy’s Leathers Wireless Bodypack Holder
Strings, Picks, & Straps
- D’Addario NYXL .010–.046 (for PRS Custom 24s)
- D’Addario NYXL .014–.060 (for Fender Strats)
- Custom-made guitar picks
- Gruv Gear straps
That telepathic creative shorthand is all the more impressive when you consider the fact that the band recorded their parts entirely separate from one another. “Usually, people record drums first, but I laid down my guitars and vocals to drum demos,” Dany explains. “It was funny because I’d stand up and move all around, just to get the excitement going like I was playing onstage.”
Some of the record’s harshest guitar sounds were, in fact, produced by Ale on bass, while various booming bass tracks were generated by Dany’s guitar. “When we’re meeting in the middle—Ale’s trying to sound like me, and I’m trying to sound like her—that’s the sassiest part of the record,” Dany enthuses. It turns out you don’t need to be in the same room to stand shoulder to shoulder.
“It’s really something to have a guitar that’s literally me. I see it as my twin.”
The better part of her guitar collection is present and accounted for on Everything’s Falling—there’s a Strat, a Tele, a Les Paul Standard, and a PRS Custom 24. One instrument she’s added since is particularly close to her heart—her newly announced first-ever signature model, the limited-edition PRS Astryx. “From the time I visited the factory and we started talking about it to the time we were done, the whole process took well over a year,” she says.
“There’s so much I love about the Custom 24, but I put my own spin on it,” Dany continues. This means a custom color fade and her signature on the truss rod cover, alongside core Custom 24 specs like a maple top, mahogany back, and DMO humbuckers. “There’s also an inlay of the sun on the 12th fret, and it says, ‘Solecito,’ which is Spanish for ‘little sun,’” Dany says. “That’s what everybody calls me on the internet, so it was nice to include my fans in this guitar.”
She laughs. “I changed my mind a couple times while we were planning things out, but the PRS people were so understanding about everything.”
Onstage, Dany’s idea of sonic bliss is when her guitar sound is “big and chunky and heavy,” with just enough high-end to cut through Ale’s bass tone. To that end, she plays through a Kemper Profiler as well an Orange Pedal Baby 100 power amp. Both units respond beautifully to her PRS Astryx, which she recently took possession of on tour.
“Nobody told me I’d be getting the guitar, so it was a total surprise,” she says. “There’s always that thing when you get a guitar and you have to break it in, but from the second I started playing it, it felt and sounded amazing. It’s really something to have a guitar that’s literally me. I see it as my twin.”
Seymour Duncan Introduces Joe Bonamassa “Pawn Shop Special” 1961 P90 Set
Seymour Duncan, has unveiled The Joe Bonamassa “Pawn Shop Special” 1961 P90 pickup set. These Custom Shop P90s replicate the vintage pickup set that sparked Joe Bonamassa's love affair with P90s, delivering airy highs, expressive midrange, and snarling overdrive response. Alnico 4 magnets, a custom wind, and historically accurate components bring this coveted Nerdville tone within reach of every P90 aficionado.
Key features include:
- First P90 collaboration between Joe Bonamassa and the Seymour Duncan Custom Shop
- Directly replicates the exact tone of the soapbar P90s from Joe's own 1961 SG Special
- Alnico 4 magnets and custom wind capture the airy top end and sizzle of the original pickups
- Vintage style output: Bridge 8.4k / Neck 7.8k DC resistance
- Historically accurate dimpled P90 bottom plate, covers, and period-correct details
- Wax potted per Joe's preferences for reliable live performance
First 610 sets include a Nerdville #001 luggage tag, certificate of authenticity signed by Joe Bonamassa and Seymour, and limited-edition packaging
Most guitar players have had the experience of walking into a pawn shop, hoping to strike gold, only to find a limited selection of instruments that are far from inspiring. But sometimes with the right combination of luck, a great guitar can be found hanging on the wall of your local pawnbroker. Joe Bonamassa found one such gem, a 1961 Gibson® SG™ Special, at a pawn shop while on tour in 2010. Not only was it a pristine example of a first-year SG Special, but it also had a set of pickups that marked the beginning of Joe’s love affair with P90s. The pickups in this guitar exemplified the tone of his heroes who played these pickups in the ‘60s. Players like Pete Townshend, Carlos Santana, and Leslie West.
After many years of recreating pickups from some of Joe’s favorite instruments, Seymour Duncan and Bonamassa have teamed up to replicate the soapbar P90 pickups from this very special guitar as the Joe Bonamassa “Pawn Shop Special” 1961 P90 Set – the Custom Shop’s first P90 collaboration with Joe.
Sonically, these vintage P90s sit somewhere between a single coil and a humbucker: articulate and responsive, but with plenty of bark, especially when overdriven. The output specs are: Bridge 8.4k / Neck 7.8k DC resistance.
The “Pawn Shop Special” 1961 P90 Set is built with Alnico 4 magnets and a custom wind to duplicate the airy top end and sizzle that make the pickups in Joe’s guitar so captivating. Seymour Duncan created a historically accurate dimpled P90 bottom plate specially for this project, taking care to replicate the covers and other intricacies of pickups from this era. These P90s are wax potted per Joe’s preferences and are ready for any live performance (no matter how many Overdrive Specials™ and Silver Jubilees™ are turned up behind you).
The Pawn Shop Special occupies a unique place in Joe's extensive guitar collection. As he began to log and inventory his instruments, this guitar was the very first instrument to be cataloged thus garnering an inventory tag as item #001. To celebrate this, the first 610 sets will come with a Nerdville #001 inventory tag, similar to the ones Joe uses to catalog his own instruments. Other features exclusive to the first 610 sets include a certificate of authenticity signed by Joe and Seymour, as well as limited edition packaging.
The Joe Bonamassa “Pawn Shop Special” 1961 P90 Set carries a street price of $375. For more information visit seymourduncan.com.
Hagstrom Megin Review
Though they never made major inroads into the North American guitar market, Swedish maker Hagstrom’s guitars have always had cool cred to spare. Hagstroms in the hands of ABBA’s Bjorn Ulvaeus and Rutger Gunnarsson might not surprise anyone. But they were also used by a range of icons spanning from Jimi Hendrix, David Bowie, Frank Zappa, and Elvis Presley, to Nels Cline, Mark Arm of Mudhoney, and Pat Smear of the Germs, Nirvana, and Foo Fighters. Hagstroms are often unique in sound and feel. The thin necks on many 1960s models, for example, make them favorites among players who like to riff at speed.
The new China-made Megin isn’t quite as quirky as, say, a 1960s Hagstrom III. It’s closer to a traditional rock machine and priced for what you could call the quality-entry-level range of the market, selling for a sum just south of a grand, including the tweed-style hardshell case.
Arctic Charm
At a glance, the Megin evokes thoughts of Gibson’s Les Paul DC, as well as Hagstrom’s own very Les Paul-like Swede, though there are plenty of departures from those formulas that give the Megin a unique identity and personality. What’s familiar here? Well, there’s a set neck, two humbuckers, and a mahogany body and neck. Unlike a Les Paul, though, there’s no maple cap. And the extra space and stretch you feel is the Megin’s 25.5" scale length, which translates to tighter bass tones on the wound strings and a little more shimmer on the higher strings.
The neck is carved to a slim-C profile that tapers only slightly as you climb it, and although the bound fingerboard looks like a slice of ebony, it’s actually a composite material Hagstrom calls “resonator wood.” Hagstrom’s unique H-Expander truss rod encloses the adjustable round rod within an H-shaped sleeve of lightweight alloy that increases stability—and, Hagstrom claims, the guitar’s resonance. The 22 medium-jumbo frets are smoothly dressed, and the guitar plays easily from nut to joint.
“The Megin cuts straight to the beefy humbucker rock tones that its looks suggest.”
The Megin has a lot going on in the style department, and deluxe details abound, including 5-ply body binding and rounded block inlays. The headstock is classically Hagstrom—ornate and bristling with Art Deco touches, including the Empire-style tuners. Our test guitar came in a grey burst finish that’s happily reminiscent of Gibson’s circa 1979 silverburst, which is one of four options including black gloss, crème, and sky blue. Taken as a whole, it’s fancy without being over the top.
Northern Lights
Hagstrom loads the Megin with a pair of the company’s own Custom 62 humbuckers, including a medium-output unit at the neck measuring 8.2k-ohms resistance and a high-output bridge pickup rated at 13.8k ohms. They’re routed through a simple 2-knob volume and tone setup, which includes a treble-bleed network on the volume control. A 3-way selector switch is positioned between the knobs.
Played through a 1964 Fender Bassman head and 2x12" cab, a recent Vox AC15, and a Fractal FM9 modeler, the Megin projects beefy humbucker rock tones, just as its looks—and those pickups’ resistance ratings—suggest. Guitars like this one have a way of sparking big leads and riffs, and the Megin excels in these rowdy musical settings. There’s lots of sizzle, tons of girth, and sustain enough for any situation I can imagine. Generally speaking, this might sound like a very same-old-humbucker-meets-mahogany-solidbody formula, but the Megin’s 25.5" scale adds articulation that cuts more effectively though distortion and lends the guitar a distinct personality.
Rock modes may be this guitar’s primary mission. Even so, I wonder about the need for such a high-output bridge humbucker. It ramps up dirt and saturation—often in a welcome way— but also makes it tougher to dial in pristine clean tones. A lot of the appeal in less potent humbuckers is that they make it easier to remove distortion and retain a big, clear signal. On the Megin, reducing the guitar’s volume control doesn’t always add up to crystal clear notes.
The Verdict
At $949, you start to expect a lot from a guitar in terms of quality. On that front, the Megin delivers. It’s extremely well put together and exhibits impressive care from just about every design and assembly perspective. That translates to easy playability and a lively resonance.
Guitarists familiar with Gibson-like 24.75" standard scale length might have to adjust to the slightly stiffer feel that comes with the longer scale, but the tone payoff from the extra chime and tight low end can be worth the sacrifice, depending on your style and preferences. The other factor to consider is the pickups. The high output may not be for players who work outside hot-rocking realms, and it can offset the charms of that extra chime and tight bass. But if that’s your lane, the Megin can be magical.