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PRS Guitars today announced the release of the much-requested SE version of its NF 53 guitar. The SE NF 53 is a powerful, modern guitar modeled on classic tones and design, inspired by one of Paul Reed Smith’s vintage guitars from 1953. Released in the summer of 2023, the Maryland version of the NF 53 rapidly became a hit with players across genres.

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“We have worked for two years to get the guitar just where we want it … especially the neck and the pickups. The SE NF 53 offers a modern take on vintage tones like the Maryland version, but offers a bit more bite, giving it its own unique voice. Whether you are playing for your own enjoyment in your home or gigging professionally, we think you will find this instrument to be inspirational and take you to new places inside your music.”

Built on the foundation of a swamp ash body and 22-fret, 25.5” scale length, bolt-on maple neck and fretboard, volume and tone controls along with a three-way blade pickup switch, the SE NF 53 allows players to dial in their own unique sound. The addition of PRS Narrowfield DD “S” pickups brings power and musicality without the hum, making it extremely receptive to gain. PRS Narrowfield DD (Deep Dish) pickups are made with taller bobbins to fit more winds and extra metal pieces in between the magnets for a focused, powerful tone. The “S” variation of these pickups brings articulate low-end tones and the snarl and twang players expect from this instrument.

PRS SE NF 53 — Insane T-Style Value! Demo by John Bohlinger

PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.

Despite only recently releasing the critically acclaimed SD10i guitar amp, MOOER has officially announced that its brand new F15i Li Intelligent Amp is now available. Boasting several exclusive features that MOOER’s past amps were missing, the F15i is a dedicated desktop amp that is ideal for portable practicing, both for electric and bass guitars, released as part of the company’s new “Future Series”.

As with past amplifier releases, the F15i Li Intelligent Amp is powered by MOOER’s iAMP system, allowing guitarists to access simulations of amplifiers and effects, all within a simple digital interface. With 15W of power and two high-quality 2-inch speakers, the device is designed for guitarists who need an all-in-one amp for practicing at home, in the studio, or on the go.

Pre-installed on the device are an impressive 55 amplifier models, each of which is made possible by MOOER's cutting-edge MNRS nonlinear modeling technology. Complementing these are 69 effect types, including delay, modulation, reverb, and dynamic processing modules. Impressively, the amplifier’s processing system is enhanced by support from DPE (Dynamic Spatial Enhancement) technology. Essentially, this dynamically optimizes the guitar’s audio signals in real time to augment spatial layering. Thanks to this cutting-edge feature, users will find that the F15i delivers a far more expansive listening experience with more depth than past MOOER amplifiers.

The user can browse through preset combinations through the intuitive 1.28-inch touchscreen, or alternatively, they can access a greater level of customization by designing their own amp, tone, and effect chains through the MOOER iAMP mobile app. Users can even upload and download presets through the app, greatly expanding the device’s sonic capabilities. For anyone who prefers tactile control systems over touchscreens, the F15i Li is also compatible with MOOER’s F4 wireless footswitch, facilitating uninterrupted preset changes.

In addition to amplification and effects, the F15i Li also contains various other practice features, such as a drum machine with 60 different grooves and 10 variations of metronome. Combining this with the synchronizable 60-second looper, users will have everything they need to rehearse performances, learn new songs, and compose intricate loop-based musical pieces. A high-precision tuner is even built into the amp’s software, helping guitarists to keep their guitars perfectly in tune, without having to depend on external hardware or software.

Just like with other recent MOOER amps, the F15i Li sports a versatile array of audio routing options. As would be expected, it features a ¼” mono input, but impressively, it also has 2 line-out jacks for external amplification, a 3.5mm headphone line-out for silent practice, and even Bluetooth 5.0 input support. Essentially, this enables users to stream their favorite songs and backing tracks to the amp to practice with. If the guitarist wishes to record their new creations, they can even leverage the amp’s USB-C port for high-quality OTG audio recording on a mobile device.

Arguably the most exciting feature of the F15i Li is the fact that it is powered by an integrated lithium battery. This empowers guitarists to continue shredding with high-quality amp simulations and effects, even when they are traveling or when there is no power source available. Combined with how compact and lightweight the amp is, along with its convenient carrying strap, the F15i Li is set to be MOOER’s flagship option for guitarists who want all-in-one practice solutions, wherever they may be in the world.

Features:

• 15W of stereo amplification (dual 2-inch speakers)
• Integrated MOOER iAMP effect system
• Compatible with both electric guitar and electric bass
• 1.28-inch circular touchscreen
• 55 amp models, each based on MOOER's MNRS nonlinear modeling technology
• 69 effect types
• Supports DPE (Dynamic Spatial Enhancement) for spatial layering and depth enhancement
• Built-in drum machine with 60 drum grooves and 10 types of metronome
• 60-second looper, synchronizable with the drum machine
• Integrated high-precision tuner
• Built-in battery
• 3.5mm headphone output port for silent practice
• Dedicated iAMP mobile app for advanced effect chain editing, preset/tone sharing, and firmware updates
• Compatible with MOOER's F4 wireless footswitch for augmented control
• Bluetooth 5.0 input compatibility, ideal for practicing with backing tracks
• USB-C port for high-quality OTG audio recording
• Convenient carrying strap

The F15i Intelligent Amp will be available from the official distributors and retailers worldwide on 8th July at an expected retail price of USD209/Euro199/GBP169.

A sub-$1K SE version of PRS’ imaginative T-style evolution delivers insane value via deep-dish Narrowfield pickups, an ash body, and comfort few T-Styles can match.

Blackstar Amplification is proud to announce the release of ID:X, a new generation of advanced DSP modellingamplifiers created for guitarists who demand intuitive control, powerful tone, and flexible connectivity. Available inboth 50 Watt and 100 Watt models, ID:X goes head-to-head with the current market leader delivering a streamlineduser experience with unmatched sound quality and versatility.

Built on the foundation of Blackstar’s acclaimed and award-winning ID:Series, Silverline and AMPED, ID:X introduces a discreet user-friendly OLED display, providing instant visual feedback and deep access for editing settings and effects without the need for menu-diving or external devices. The amps feature six carefully designed voices that cover everything from pristine cleans to our signature Blackstar high-gain tones, all shaped by a powerful four-band EQ section including our patented ISF, allowing players to craft their sound with precision.

Over 35 effects are included, spanning overdrives, distortions, modulation, delays and reverbs. Each effect is fully editable directly from the amp using simple, real-time encoders, making it effortless to dial in tones and jump between different effect types and parameters on the fly.

ID:X also includes Blackstar’s latest IR-based CabRig™ technology, offering powerful speaker and mic simulation and featuring new In The Room™ technology which creates the experience of standing next to an amp while you play, rather than the more studio focussed tones of traditionally captured IRs – all with a choice of EL84, EL34 and 6L6 valve responses to shape the amp’s dynamic feel. Players can create and store up to 99 patches, with easy recall via the front panel or using the compatible FS-12 or FS-18 footswitches. The amps are fully integrated with Blackstar’s Architect software, providing deep editing, patch management and access to a growing online community where you can create, share and download patches with other users and artists.

With a full suite of modern connections, including balanced XLR out*, USB-C for recording, a ¼-inch line out, headphone output, MIDI in and thru* and an aux input, ID:X is ready for everything from silent practice and studio sessions to full live performance. Selectable power modes (including 1W for quiet playing) make it just as suitable for late-night inspiration as it is for the stage.

Designed for players who want the sound and response of a pro rig without the weight or complexity, ID:X represents a bold step forward in modern amp design. Combining hands-on control with studio-quality tone and next-level flexibility, it’s the all-in-one solution today’s guitarists have been waiting for.

The Blackstar ID:X Series is available now at authorised dealers worldwide.

For more information, visit www.blackstaramps.com/idx

*XLR & MIDI on ID:X 100 only.

While there are a myriad of guitar tunings to choose from, E standard generally remains the most popular. And according to The Darkness frontman Justin Hawkins, you shouldn’t need anything else.

While the Darkness also use drop D on some songs – which involves tuning the low E string down a whole tone – many of their biggest tracks, including I Believe in a Thing Called Love and Love Is Only a Feeling – are in E standard.

• READ MORE: “The electric guitar is an American cultural export” NAMM CEO John Mlynczak on why Fender, Gibson, PRS and others joined forces to lobby congress over wood tariffs

In an interview in the new issue of Guitar World, Hawkins explains his love of a “standard-tuning guitar”.

“There’s not a semitone down across the board,” he explains. “If you can’t put your ideas across with that, you’re in trouble anyway, I think.

Hawkins is far from the only guitarist who feels E standard is the superior tuning. Recently, Iron Maiden’s Adrian Smith recalled the pushback he received when trying to get his bandmates to experiment with drop D.

“We do songs like Run to the Hills, The Clairvoyant, it’s Drop D,” he said. “I’m the only one in the band who would do it. ‘Come on! Let’s drop the D, move with the times!’ They’re like, ‘Nah.’”

Elsewhere in the new Guitar World interview, Justin Hawkins explains his approach to using the minor pentatonic scale to craft solos.

“There are a lot of moments when it’s pentatonic, but I go for harmonic minor stuff as well,” he says. 

“I like a ninth in a solo because I think it forces you to decide whether you’re going to go up or down from there. You can’t just have it suspended in no man’s land. You have to make a choice.

“Pentatonic is a go-to thing when you’re building a solo. But I tend to think of a solo as a collection of phrases that you’ve bastardised and made your own.

“And I’ve got a couple licks that I don’t think anyone else does that sounds like a spider crawling across the fretboard.”

In other news, Justin Hawkins has expressed his opinion that rock music should evolve if it wishes to stay relevant in the modern era.

“Rock is a middle-aged guy in a world full of people who are just generation… whatever the fuck it is now,” he told Kerrang! [Rock] has to wake up and be part of it.

“I’m saying that if [rock as a genre] wants to flourish and be the best again, it has to sort of pull its head out of its arse,” he adds. “[It has to] realise that, yeah, Led Zeppelin existed, The Rolling Stones existed, AC/DC existed, but you have to do that for now. That’s what we are.”

The Darkness released their latest album Dreams on Toast in March this year. Listen below:

https://open.spotify.com/album/19syLvSEiTyMcBMgdLtqp6?si=0IOvA_4nR_SMJjUzpx-RU

The post Justin Hawkins refuses to use any other guitar tuning than E standard: “If you can’t put your ideas across with that, you’re in trouble” appeared first on Guitar.com | All Things Guitar.

While many agree that Metallica, Megadeth, Slayer, and Anthrax are the Big Four of Thrash, Gary Holt seems to think Exodus are the truly definitive thrash band.

In a recent chat with Serbian journalist Jadranka Janković Nešić, the guitarist insists that his band is “the greatest thrash band in the world”, and they “have been for many years”.

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In fact, Exodus have been around since 1979 – years before any of the ‘Big Four’ bands had formed. “Everybody else can fuck off,” he laughs. “We’re better than all of them! And I’m sorry, it sounds like an ego, but listen to any of our records. We’ll crush them all!”

Of course, Holt says it in jest. He takes the entire notion of the ‘Big Four’ with a pinch of salt. “I’ve never worried about any of that stuff,” he says. “Big Four, Big Five, Big Ten…”

Holt even goes on to praise one of the Big Four, noting Metallica’s 1986 record, Master of Puppets. “Master of Puppets, to me, is the greatest metal album ever made,” he notes. “And, you know, [while touring] … And Justice for All they were already way bigger than any of us. Then they just became the biggest metal band of all time.”

Elsewhere in the interview, Holt discusses Exodus’ follow up to 2021’s Persona Non Grata. “It’s going to be released as two totally separate records,” he reveals. “We had so much material that we just [thought], let’s work extra hard.”

“I wish we had 20 songs done instead of 18, because then we would have the next album done! Then I could go on vacation or something. I’ve never had one.”

What should fans expect? “It’s 100 percent Exodus and, at times, 100 percent different,.” Holt reveals. “There’s some surprises on it. It’s super heavy, and there are some moments that are so fast, but there’s moments that are also super slow. Just satanic, evil as fuck!”

The post “Exodus are the greatest thrash band in the world. We’re better than all of them!”: Gary Holt thinks his band are better than Metallica, Slayer and the rest of the Big Four appeared first on Guitar.com | All Things Guitar.

Limited-edition Martin guitars, the 000-18 1955 CFM IV 70th and D-18 1955 CFM IV 70th, pay tribute to Chris Martin IV's 70th birthday and the folk boom of 1955. Featuring reclaimed spruce tops from Alaska, vintage appointments, and a limited run of 70 instruments each, these guitars blend history with modern craftsmanship.

To celebrate Chris Martin IV’s 70th birthday, C. F. Martin & Co. is proud to introduce two limited-edition guitars that honor a pivotal year in both Martin’s history and American music: the 000-18 1955 CFM IV 70th and the D-18 1955 CFM IV 70th.

1955 wasn’t just the year Chris was born—it marked the dawn of the folk boom, a cultural movement that would forever shape the sound of American music. As acoustic guitars took center stage, Martin Dreadnoughts and 000s became essential tools for a new wave of artists. These new limited-edition models pay tribute to that defining moment, blending vintage inspiration with modern craftsmanship.

Each guitar is based on an original 1955 Martin recently acquired at auction. The 000-18, serial number 145102, came from the Heritage Auctions Guitar Shop Collection and was prized for its honest wear and soulful tone. The D-18, serial number 144636, was part of the renowned Skip Maggiora Collection—150 vintage instruments auctioned to benefit music education and youth charities. Both original guitars showed decades of play and served as direct inspiration for these commemorative instruments.

One of the most striking features of both models is their reclaimed spruce tops—a first for Martin. The wood comes from old-growth trees salvaged around Prince of Wales Island in Alaska, including wind-felled trees, dismantled log bridges, and massive logs once used in historic barge ramps and floating logging platforms. Sustainably sourced and steeped in history, the spruce tops are printed to replicate the look of the original 1955 instruments, adding visual character to their tonal warmth and balance.

The 000-18 1955 CFM IV 70th features a gloss 000 body with mahogany back and sides, non-scalloped Sitka spruce X-bracing, and a focused, articulate sound ideal for fingerstyle players and singer-songwriters. ($4,699)

The D-18 1955 CFM IV 70th offers the bold voice of a gloss Dreadnought, with rear-shifted non-scalloped X-bracing for enhanced projection and tonal clarity. ($4,699)

Each guitar is limited to just 70 instruments and includes a hardshell case and an embossed paper label hand-signed by Chris. Released together, they celebrate Chris’ legacy and the timeless Martin tradition of quality, innovation, and respect for the past.

The 000-18 1955 CFM IV 70th and D-18 1955 CFM IV 70th are available now online and through select Martin dealers.

For more information, please visit martinguitar.com.

Step aside Papa Het… Anthrax and Armored Saint’s John Bush has revealed that he was once asked to front Metallica instead of James Hetfield.

In an interview with Get On The Bus, Bush explains that he was approached with the proposition of fronting Metallica around the release of their 1983 debut, Kill ‘Em All. “It was an honour to be asked to sing in Metallica,” he reflects. “It just was not my fate.”

• READ MORE: Should phones be banned at the Oasis reunion tour? Average attendee to watch 12 minutes of each show on their phone, per new research

Metallica’s manager, Jonny Z [Jon Zazula], asked Bush personally – and, when his request was denied, he’d approach Bush yet again in the 1990s to join Anthrax. Second time lucky.

It would take 28 more years for Bush to finally give fronting Metallica a trial run. Armored Saint opened up for Metallica on their run of 30th anniversary shows in 2011, and Bush joined Hetfield and co onstage to sing The Four Horsemen. “They told the story about how, ‘we were gonna maybe get this guy, but it didn’t happen… this is what it would sound like if he did join,’” Bush recalls. “That was a really special moment in my life.”

Despite the experience, Bush insists it just wasn’t his “destiny” to front the band. “I could have ruined metal. That’s just too much, man – that’s too much pressure,” he admits. “It just wasn’t my fate. And I could never imagine anybody singing those songs other than James Hetfield. That would’ve been a big loss for heavy metal.”

While Bush never ended up officially joining the Metallica ranks, he’s glad that he’s found friends in the Metallica gang. “There’s always a connection… Armored Saint ended up going out and touring with Metallica on Ride The Lighting and March Of The Saint, for us,” he says.

“We have a lot of history together as friends. And one of the funny things is James, during Metallica’s recent set [at Sonic Temple], said, ‘I was stoked to see Armored Saint Today… We destroyed a lot of hotels together.’”

These hotel-destruction tales have been teased for years. Back in 2011, Hetfield and Lars Ulrich introduced Armored Saints to the stage, referring to the legendary event. “There’s a story… Let’s see… it was a hotel in Detroit or something…” Hetfield begins, before Lars cuts him off, looking into the audience and asking: “is everybody over 21?”

The post “I could have ruined metal!”: Armoured Saint frontman reveals how he was once approached to be Metallica’s lead singer instead of James Hetfield appeared first on Guitar.com | All Things Guitar.