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Ken Pomeroy – “The Philadelphia Contributor”
Ken Pomeroy and her band – Dakota McDaniel and Ramsey Thornton – perform the as-yet-unreleased song “The Philadelphia Contributor” for our cameras.
We also interviewed her on the Fretboard Journal Podcast, Ep. 571, available now via all the streaming platforms. We talk about her early songwriting, acting on FX’s The Lowdown, recording her 2027 album at Wilco’s Loft, her love for Collings Guitars, and so much more.
The post Ken Pomeroy – “The Philadelphia Contributor” first appeared on Fretboard Journal.
Podcast 571: Ken Pomeroy
The incredible Ken Pomeroy joins us this week. This young singer-songwriter is a rising star in the world of Americana music (check out her 2025 album, Cruel Joke), an actor on FX’s The Lowdown, and – it turns out – a reader of the Fretboard Journal!
We chat about her first guitar memories; growing up in Oklahoma City; Collings Guitars; recording her next record at Wilco’s Loft (and using Jeff Tweedy’s Kel Kroydon); plus so much more.
Follow Ken here: https://kenpomeroymusic.com
Also head to our YouTube channel to see Ken perform a new song, “The Philadelphia Contributor.”
Subscribe to the Fretboard Journal’s quarterly print magazine. Issue 61 is now mailing to all subscribers.
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The post Podcast 571: Ken Pomeroy first appeared on Fretboard Journal.
Tim Henson saves “every insane, beyond-my-capabilities” guitar video he sees on Instagram – so that he can one day master them all
Polyphia’s Tim Henson is curating a library of impressive guitar videos from Instagram Reels, with hopes to come back to them all and learn from them.
While Polyphia are currently busy releasing new music and preparing for tour, Henson may have put learning new skills on the shelf for now, but he’s determined to push himself beyond his own skillset into what he deems beyond his capabilities in the near future.
Speaking to Metal Hammer, he recalls how violin lessons in his early childhood were the “bane of his existence”, despite them providing formative experience with what it takes to build a skill. Asked about the last time he failed at something and abandoned it, he replies, “‘Abandoned’ is not the word I would use, I would use ‘paused.’
“If you were to go through my saved Instagram Reels, I have categories. There’s one called ‘guitar’, and inside it’s every insane, beyond-my-capabilities technique that I’ve come across that I want to come back to later when I have the time,” he shares.
Last month, Polyphia released their fifth album BE NOT AFRAID, made with RJ Pasin. It has a stronger narrative than previous Polyphia albums, leaning into extremes of good and evil.
Upon its announcement, Henson said “Instead of going wide on BE NOT AFRAID, we went as deep as we could. There are so many layers to pull back. Every time you listen to it, you’ll notice something new. Thematically, it’s by far the most meaningful record we’ve ever made.”
In other news, back in September, Tim Henson partnered with guitar accessory company MONO on a new signature dual carry guitar case. “I’m constantly switching between my electric and nylon-string signature guitars, so having one case that carries both and looks exactly the way I want it to is perfect,” he said.
To find out more about BE NOT AFRAID, head over to the Polyphia website.
The post Tim Henson saves “every insane, beyond-my-capabilities” guitar video he sees on Instagram – so that he can one day master them all appeared first on Guitar.com | All Things Guitar.
Looking for the perfect gift for the guitarist in your life? Fender’s Holiday Gift Guide will help
With the holidays approaching fast, now’s the perfect time to start thinking about guitar gifts the new player in your life will actually use and appreciate.
Fender Musical Instruments Corporation, better known as FMIC, has handily rounded up some of its best picks across its family of brands for beginner guitarists this year, with selections from across Gretsch, Jackson and of course, Fender.
- EDITOR’S PICK: Fender American Professional Jaguar review: “If you love the vibe but want to duck the weirdness, this is the Jag for you”
Take a look at the top guitar choices below to learn more about their features and the type of player they’re best suited to. Prices range from as little as £229 to £335, so there’s something for all kinds of budget in mind.
Gretsch Vintage White Jim Dandy Parlor – £229
The Jim Dandy Parlor is a small-bodied acoustic guitar with a short 24” scale length, an X-braced body crafted with select lightweight laminate tonewoods, and a “C”-shape neck. Gretsch says it is “well suited for everything from bluesy porch pickin’ to speakeasy swingin’”, and describes it as “a ramblin’ companion for newbies and old-timers alike”.
Squier Affinity Telecaster – was £245, now £191
A versatile, entry level model, this Squier Telecaster is a great choice for anyone who has dreamed of learning to play guitar. It has a thin and lightweight body for comfort and easy transportation, a slim and comfortable “C”-shaped neck profile, and is fitted with dual Squier single-coil Tele pickups with 3-way switching for tonal variety.
Fender Squier Sonic Stratocaster Pack – £245
For everything you need to get started with electric guitar, this pack comes in under £300 and includes a Squier Sonic Stratocaster, a compact and portable Squier Frontman amplifier with both clean and overdrive channels, two-band EQ for tone control, headphone jack for silent practice and an aux input for connecting a media device. You’ll also get a padded gig bag, instrument cable, strap and picks, and a free three-month subscription to Fender Play.
Gretsch Streamliner CVT – £299
Launched this summer, the Streamliner CVT is described by Gretsch as “a no-nonsense tone machine”. Featuring HotWire humbuckers, a Fast “C” neck profile, Pitch-Perfect head angle and a compensated wraparound bridge, the Streamliner CVT is a budget-friendly model ideal for rock players.
Credit: FMIC / Gretsch
Jackson JS Series King V JS13 – £335
For players who love heavy genres and shreddy playing styles, the JS Series King V JS32 has a classic metal shape with a smaller price tag. It has a bolt-on maple speed neck with graphite reinforcement and scarf joint, dual Jackson high-output humbucking pickups, a Jackson-branded Floyd Rose double-locking tremolo bridge, standard strap buttons and sealed die-cast tuners.
Credit: FMIC / Jackson
To find out more or shop more guitars, head over to Fender.
The post Looking for the perfect gift for the guitarist in your life? Fender’s Holiday Gift Guide will help appeared first on Guitar.com | All Things Guitar.
Affordable heavy riffing… Harley Benton just launched a Fishman Fluence-equipped single-cut
Harley Benton has made a name for itself for its affordable guitars, but that doesn’t mean you don’t often get some killer spec sheets. Take this new single-cut, for example, which features a pair of Fishman humbuckers – a brand regularly favoured by some of rock and metal’s top players.
Yep, Fishman is chosen by the likes of Matt Heafy, Tim Henson, Mick Thomson and Devin Townsend, and now you can join this ilk of rock elite with a guitar that costs under £500. The SC Custom Plus Fluence also offers a couple of variations of the guitar that edge slightly past the £500 mark, but you get the point: a Fishman-equipped guitar for a very reasonable price…
- EDITOR’S PICK: Wait… an HSS Silver Sky prototype exists?
Active, noiseless pickups with multiple voices are routinely found on higher-end guitars or aftermarket upgrades, however here, they come as standard on a guitar that also boasts stainless steel frets and locking tuners. Each guitar also features two volume pots, one tone control and a three-way toggle switch.
Credit: Harley Benton
Each Fishman Fluence Classic set offers three voices selected via push/pull pots, meaning no need for any extra switches. Voice 1 is a classic, moderate-output humbucking sound from both pickups. Pull the neck volume pot for Voice 2, which splits the neck into a clear, airy chime while the bridge delivers a hotter, more aggressive sound. And finally, pull the tone pot for Voice 3 and both pickups switch to clean single-coil tones.
A Fishman-loaded Harley Benton is, indeed, exciting, but it’s not the first time the Thomann-owned brand has partnered with the revered pickup brand. Back in September, for example, the company unveiled the Fishman-equipped SC-550 Plus Fluence series.
The new SC Custom Plus Fluence range also offers models with both fixed WSC LP17 Tune-O-Matic-style bridges and Floyd Rose 1000 series locking tremolos.
Credit: Harley Benton
Meanwhile, the guitars sport okoume bodies with maple tops, nyatoh necks, jatoba fingerboards with white pearloid trapezoid inlays and ivory binding, and modern C-profile necks.
Colourways up for grabs include Vintage Black, Trans Brown Flame, Ocean Flame and Black Cherry Flame, with gold or nickel hardware.
The SC-Custon Plus Fluence is available now through Thomann, with prices starting at £461.
Learn more at Harley Benton, and get yours at Thomann.
The post Affordable heavy riffing… Harley Benton just launched a Fishman Fluence-equipped single-cut appeared first on Guitar.com | All Things Guitar.
Mystery Stocking 2026: Coming Soon!
This year's Mystery Stocking is coming November 23, 2026! Get ready to grab your stocking. This year, we have over 2,000 stockings available. 1 in 3 has a pedal. Will you get one?
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About Mystery Stocking
Each year, Premier Guitar puts out these mystery boxes as a part of bringing some fun to the holiday season. Each box contains guitar goodies ranging from picks, strings, and straps to pedals, guitars, and amps! Remember, this is supposed to be a fun holiday treat! If the contents of this box will ruin your holiday, deplete the last of your bank account, or end your ability to see the good in humanity, it may not be for you.
- This year's Mystery Stocking will cost $47.95. ($39.95 + $8 Flat shipping)
- Each box will be guaranteed to contain $40 or more MSRP.
- US only. (Sorry World.)
- Make sure your shipping address is correct.
- Have your credit card ready to go before you refresh the page. Paypal and American Express are not available. Autofill may not fill in your information.
- There will be NO REFUNDS given.
- There has been a huge demand for these in the past. When they are gone, they are gone.
- One per household, one per person.
Q: What's in the Mystery Stocking?
A: It wouldn't be much of a surprise if we told you, now would it?
Q: Will I definitely get my money worth?
A: Yep.
Q: Can I return it if I don't like it?
A: Nope. All sales final.
Q: What if I live outside the US?
A: Sorry, US only.
Q. How much is it?
A. $39.95 Plus $8 shipping
Q. When will it ship?
A. Starting the week of December 7, 2026.
Q. What form of payment do you accept?
A. Credit cards only. Sorry, no Paypal or AMEX for this.
Q. Can I ship to a different location than my billing address?
A. Yes
Q. I tried last year and didn't get one. Will I get one this year?
A. There is an overwhelming demand for Mystery Stocking. Be sure you have a fast internet connection and be ready when they go on sale.
Q. I want to buy 5. How can I buy 5?
A. You can't. This year, we're limiting to one per household, one per person, so more people can get in on the fun!
An HSS Silver Sky prototype exists – but John Mayer plays down hopes that it might see the light of day
The PRS Silver Sky is one of the top-selling electric guitars of the past 10 years, so it makes perfect sense that John Mayer and Paul Reed Smith would constantly be looking to find ways to make the model appeal to new customers.
In a left-field collaboration announced in September, PRS partnered with Jaguar Land Rover to create a limited run of Silver Skys outfitted in finishes inspired by classic Defender colourways. Why? Good question. Because the Silver Sky’s namesake, John Mayer, is a huge Defender fan, and owns several of his own.
Still, that collaboration had somewhat niche appeal, but the next thing PRS and Mayer are cooking up might get the masses’ pulses racing even more: an HSS-configured Silver Sky…
- EDITOR’S PICK: We gave the latest Fender American Professional Jaguar an 8/10 in our review – here’s why
However, calm yourself, because while John Mayer reportedly has an HSS Silver Sky in his possession, it doesn’t look like it’ll see the light of day any time soon.
Speaking to Guitar World, Mayer explains why he and PRS have no plans to release the model in a limited run, saying it would be “too much of a tease”.
“I’m not out to frustrate people. I’m out to excite people,” he explains, acknowledging the fine line between generating excitement and leaving fans disappointed when a guitar is available in extremely limited numbers.
Mayer stresses that any new iteration needs to be developed at the right pace, rather than being rushed out to capitalise on hype. “It’s got to be right,” he says.
He also highlights the challenge of fitting a humbucker alongside two single-coils without disrupting the guitar’s aesthetic or tonal balance. “You have a geometry puzzle on a design level,” Mayer said, explaining how the bridge pickup needs to complement the others rather than overpower them.
He described these as “design-based timelines”, suggesting that an official release isn’t simply a matter of deciding when to put a guitar on sale.
The HSS configuration is one of the most popular modifications among Silver Sky owners, with players including Neal Schon having their guitars retrofitted, so the prospect of an official version was always likely to get fans talking.
For now, the best hope of seeing the HSS in action may be Mayer’s solo residency at the Sphere in Las Vegas next year.
While an official release remains uncertain, the prototype’s existence suggests that a humbucker equipped Silver Sky is firmly on the table. Whether Mayer decides to take it on stage, or eventually make it available to fans, is still an open question.
The post An HSS Silver Sky prototype exists – but John Mayer plays down hopes that it might see the light of day appeared first on Guitar.com | All Things Guitar.
U2 say Fontaines D.C. make them want to up their game: “They’ve got something extraordinary”
U2 are big fans of another Irish band in particular, one that they believe is encouraging other bands to level up their game, without them even trying.
Chances are that if you like guitar music, you’ll have heard of Fontaines D.C. The Dublin-based band have just released their fifth album, Dopamine Chamber, and are due to play some huge stadium shows in the summer of 2027.
Speaking to NME about their own new album, Carnaval de Luz, U2’s Bono and guitarist The Edge were asked what they think of Fontaines, and particularly their reputation as ‘the biggest Irish band since U2’.
“Bands make each other better if they’re any good. I can’t imagine The Beatles being as good as they were without The Stones, I can’t imagine The Stones being as good as they are without The Beatles,” begins Bono.
“Paul [McCartney] writes Let It Be then they put out an album called Let It Bleed you know, All You Need Is Love and then Street Fighting Man. In the ‘90s you had Blur and Oasis. You make each other better. I will admit that when you hear something really unique and original…You have to up your game when people step into the room like Fontaines D.C.,” he declares.
The Edge also celebrate punk duo Lambrini Girls, and the work of Geese – particularly their frontman Cameron Winter: “He’s the man who understands the power of a silhouette,” says Bono. “An original silhouette only comes along every 10 or 20 years.
“I went to see Geese and he was standing with his back to us. He knows about shadows. The band were going at it like Cookie Monster from Sesame Street, the drummer was incredible, but he was pulling some shapes. As a shape-puller, I appreciated that.”
He concludes, “But Grian [Chatten, Fontaines D.C. frontman] has got a very unique spirit. Everyone thinks of singers and songwriters as going around with a diviner, but I think the reason you’re drawn to certain music is like that and you then explain it to yourself later. They just work very well together that band, they’ve got something extraordinary. That was a great song they did with Rosalía [Where Is Gone?].”
In other U2 news, it was recently revealed that The Edge has written a screenplay for a sequel to Elf, the treasured Christmas film starring Will Ferrell. On a recent episode of Obsessed: The Podcast, comedian Andy Richter, who played Morris in the original film, says Elf producer Shauna Robertson received a message saying The Edge had written a script for a sequel and wanted to talk to her about it.
“Somebody reached out to her and said The Edge from U2 has written a sequel to Elf, and he wants to talk to you about it,” Richter explained.
Calling it the “weirdest story”, he added: “Apparently it was fully written. Somewhere in the world, there is an Edge-penned Elf 2 out there. I would love for that to make the light of day. [But] it never happened. She said it’s just one of those things where she’s like, ‘Alright, sure I’ll meet him!’ And then it just petered out and never happened.”
Find out where you can catch Fontaines D.C. on tour, or order U2’s new album, Carnaval de Luz, from their official website.
The post U2 say Fontaines D.C. make them want to up their game: “They’ve got something extraordinary” appeared first on Guitar.com | All Things Guitar.
Jimi Hendrix’s legacy immortalised on a limited-edition $1 coin
Legendary guitarist Jimi Hendrix is headed for legal tender. Washington Governor Bob Ferguson has chosen the Seattle-born guitarist as the state’s submission to the US Mint’s American Innovation $1 Coin Program, scheduled for release in 2029.
The programme honours innovators and innovations from across the country, covering every state plus Washington DC and the US territories. Most of the coins so far have marked inventions and achievements, such as the lightbulb, the telephone, the Hubble Space Telescope and the Space Shuttle. A smaller number have honoured people, among them Apple co-founder Steve Jobs, agricultural scientist George Washington Carver and civil rights activist Septima Clarke. Hendrix appears to be the first musician in that group.
- EDITOR’S PICK: Find out why we gave the new Fender American Professional Jaguar an 8/10 in our review…
Washington’s pick came out of a public submissions process run by state Treasurer Mike Pellicciotti, who acts as the state’s liaison to the Mint. An advisory committee of historians and innovation experts unanimously approved five finalists for the governor to choose from. Alongside Hendrix, the shortlist included Billy Frank JR. and treaty rights, Indigenous reef-net fishing and ecosystem management, Bruce Lee and martial arts and the Medic One paramedic programme.
“Washington is one of the most innovative states in the nation,” says Governor Ferguson. “Picking just one example from the most innovative state in the nation was difficult, but Jimi Hendrix’s historic innovation on guitar and his deep roots in Washington make him a great choice to represent our state.”
Naturally, Hendrix’s family has welcomed the news. “To have Jimi honoured on a United States $1 coin representing Washington’s spirit of innovation is an extraordinary honour,” says Janie Hendrix, Jimi’s sister and President and CEO of Experience Hendrix. She recalled Jimi describing himself as “a West Coast Seattle Boy – a magic boy,” who shared this magic through his musical imagination and creativity that continues to inspire new generations.
Nothing yet is final and the design is still to come. It will go through development, consultation with the US Commission of Fine Arts and public review by the CItizens Coinage Advisory Committee, before the Secretary of the Treasury makes the final call.
For guitarists, the choice makes sense. Hendrix helped redefine what the instrument could do, pushing feedback, fuzz and wah from novelty to expressive tools. He also showed what a Stratocaster could do in the hands of someone willing to play it upside down and left handed…
The post Jimi Hendrix’s legacy immortalised on a limited-edition $1 coin appeared first on Guitar.com | All Things Guitar.
Neural Amp Modelling For Blackstar ID:X Floor
Fender American Professional Jaguar review: “if you love the vibe but want to duck the weirdness, this is the Jag for you”
$1,899/£1,899, fender.com
You may have noticed that the Jaguar has been enjoying a bit of a cultural renaissance in the last few years. For so long, Fender’s ‘other’ offset has lived in the shadow of its bigger brother. With a shorter scale length, weird-looking pickups and an incredibly fiddly control layout, the Jag was always struggling to win hearts and minds. And then Johnny Marr came along.
It’s maybe overdoing things a little to say that the legendary guitarist ‘fixed’ the Jaguar when his signature model first came out in 2012, but its influence on the original American Professional Jaguar in 2017 was clear.
Then things all went a bit quiet. The original AmPro Jag didn’t exactly set the world on fire popularity-wise, despite incorporating many of the tweaks that had made the Marr Jag so popular, and the absence of any kind of Jaguar in the 2020 American Professional II range at all, made you wonder if Fender had decided that the Jag was best left as a weirdo outsider.
Then a change began – over the last few years we’ve seen Jaguars prominently featured as part of the Player II and Vintera III launches, and we even saw a Jaguar return to the American-made range with the American Professional Classic launch last year.
But now, the Jaguar and Jazzmaster have taken centre stage like never before, as the headline items in Fender’s latest revamp of the standard American Professional range – and with very good reason…
Fender American Professional Jaguar. Image: Adam Gasson
What is it?
The 2026 American Professional lineup is the third iteration of Fender’s flagship standard series. As the name suggests, these guitars are aimed primarily at working musicians and experienced hobbyists.
Instead of the period-accuracy of the American Vintage II range, or the unabashed modernism of the American Ultra, the AmPro range is meant to straddle the two sides – offering some of the fundamental ingredients of classic Fender instruments, but with a host of quality-of-life upgrades for the player.
In practice for this Jaguar, it means that we don’t have many of the vintage annoyances that come with Fender’s most famous short-scale guitar. That means no annoying pickup selection switches, replaced once again with a Johnny Marr-inspired three-way switch.
In the original AmPro Jag, the rhythm circuit was replaced by a single-phase switch, but here it’s been ditched for a new series mode (with its own volume and tone) that gives you the power of both V-Mod III single-coils at once.
That’s not the only electronic tweak in play here too, as there’s a push-push switch on the tone control that activates a more vintage mode on the bridge pickup.
Image: Adam Gasson
The neck is Fender’s Deep C profile, and it’s a 24” scale length of course. The maple neck itself is finished with what Fender is calling its Super-Natural satin urethane finish on this new series for extra smooth playability, and like most Fender guitars now, the fingerboard edges come factory rolled.
The biggest and most headline-grabbing new addition, however, is found down at the business end of the guitar. While the original AmPro swapped the much-maligned vintage threaded saddles for a Mustang-style set, the 2026 version has added something rather exciting for offset fans.
The new ClassicGear J-Bridge is a brand new type of bridge design that is heavily based on the Fender Custom Shop RSD bridge. The RSD has become something of a legend in the offset community, because it is said to enhance sustain and resonance, while also allowing smooth operation of the tremolo and no pesky intonation issues.
The RSD was never offered as an aftermarket part, so the only way to get one was by buying a Custom Shop offset, which further enhanced its legend – on the rare occasion these things ended up on Reverb, they’d often sell for as much as $800.
The ClassicGear J-Bridge is basically Fender’s answer to the chorus of people who have begged them to create a more affordable and mass-producible version of the RSD, with the fundamental essence of the original intact. For now, it’s exclusive to the new American Professional Jaguar and Jazzmaster models.
Like the RSD bridge, what you have here is a steel plate with a pair of brass saddles, each responsible for three strings each. The bridge itself is set up to rock, with plenty of air either side of the bushings, and each saddle is adjustable for height, but not for intonation – you’re stuck with the compensated layout that Fender has chosen. It’s paired with a Panorama tremolo, which comes with a push-in arm.
The V-Mod III Jaguar pickups have also been retooled from their original V-Mod counterparts, this time with Alnico IV staggered pole pieces. You also get a bunch of interesting finish options for these guitars, including this Dark Night and my personal favourite, Oxblood.
Image: Adam Gasson
Build quality & usability
In the hands, the Deep C satin neck is noticeably comfortable in the palm. It doesn’t come across as either too chunky or too thin. This, coupled with the more compact 24” scale length and a sculpted heel, makes this one of the most comfortable Jaguars I’ve played in some time – it’s quite possibly the Goldilocks profile of Fender’s current Jaguar offerings in the neck department, though the rolled edges could do with some work. The fret ends aren’t sharp, but there’s friction here – weirdly, more so than the rolled edges on Fender’s Mexico guitars I’ve tried.
Outside of the Mod Shop, this is the first time Fender has shipped a Jaguar with the Panorama trem since the first AmPro, and it’s a welcome addition, especially now that it has a collet design and a stronger spring. The original Panorama trem had a weak spring that caused it to bottom out whenever you put any string gauge heavier than 10s on it – thankfully that’s no longer an issue here.
The new spring and the push-in arm make the vibrato assembly feel less stiff, which results in a system that’s capable of Strat-like dive bombs while still retaining the potential for My Bloody Valentine ‘glide guitar’ trem work that you’d expect from a Fender offset.
The tuning machines here are Fender’s modern staggered units – I personally prefer the look and feel of the more vintage-style tuners, but these work well and are smooth in operation.
Finally then, the much-talked-about ClassicGear J-Bridge. In operation, it works very well with the Panorama trem, allowing for a smooth and even operation with no friction, though the nature of rocking bridges means that tuning stability can be a bit hit or miss if you give it too much wiggle – you might want to invest in some nylon threads to stop it moving if this is proving a long-term issue.
In terms of its function, the intonation out of the box seems pretty spot on – something that is especially important given that the saddles are fixed in place – though I’m still a little on the fence about that as a concept long-term.
It is, however, a huge improvement over the vintage-style saddles, with thick grooves in the brass keeping things rock solid, and it’s also a step forward from the Mustang bridge because the string spacing here is bang on 52mm – not the fretboard-edge troubling 56mm of the old version.
Is this going to convert people away from the Mastery/Staytrem hegemony that dominates the Jazzmaster aftermarket offset bridge world? Well, for some the lack of intonation adjustment will be a deal-breaker, but I really like the simplicity and ease of maintenance – and it looks great, which doesn’t hurt either. Overall, it’s very impressive.
Image: Adam Gasson
Sounds
To put this new American Professional Jaguar through its paces, I thought it best to couple it with my favourite pedalboard running through a Vox AC15. The first notable thing is how bright and articulate these pickups are. My major complaint on previous V-Mod offerings (both Jazzmaster and Jaguar) was the tonal “Stratification” of the Jazzmaster/Jaguar jangle.
So, noticing that these new V-Mod III pickups capture the Jag jangle, but in a more hi-fi approach, already had this version winning brownie points for me. Speaking of which, the pickups sound punchier than the previous V-Mod offerings too. But with a tonal chime and airiness that is amazingly glassy when clean and a tonal abrasiveness when put through a decent overdrive like the Chase Bliss Brothers AM. Trust me, being able to capture the MEW And The Glass Handed Kites-era jangle of Bo Madsen to surfy Dick Dale Pipeline cleans is no easy task and only serves to reinforce the tonal versatility on tap.
Another high mark in my book is how well the American Professional Jaguar handles effects. Everything from stacked drives to more weird and granular stuff sounded great – retaining enough of the Jaguar characteristic that it never felt like the balance between the tonal characteristics of the guitar and effects was out of whack. In fact, it only further served to enhance them by keeping that near bell-like chime, but never in an overbearing kind of way.
Arguably my favourite position is the new series mode. When engaged, this guitar sounds fuller and much more alive. Clean, it’s a dynamically bigger sound without the tonal restraints of the classic rhythm circuit. When on the edge of breakup, it has the aggressiveness and output of a well-driven humbucker, but it never steers too far away from the single-coil characteristic that the Jaguar is known for.
And unlike the traditional rhythm circuit, it does not sound muddy! This is another idea borrowed from the Johnny Marr model; it’s much more usable and practical than the old rhythm circuit.
If there’s one area I found a bit lacking, it was the push-pull vintage/modern switch of the lead circuit. It doesn’t sound bad per se, but it’s not a particularly noticeable change in sonic characteristics – so much so that I regularly forgot it was even there a lot of the time. It’s hard to really justify it being there when the impact on the tone is so minimal.
Image: Adam Gasson
Should you buy one?
The American Professional Jaguar is a reminder that Fender doesn’t just do vintage reissues, but has some interesting ideas about how its instruments should evolve and expand for the modern age.
In that, it does a really nice job of being something of a do-it-all Jag – whether you’re going for surfy sounds or angular noise – and with a price tag that’s threatening $2,000, you should hope so.
Unquestionably, this isn’t a guitar for everyone – the traditionalists would be better off looking at the Vintera III range, while there’s an argument to be made that the pickups still don’t sound enough like a Jag to really make it worthy of the name.
But the Jaguar – with all its idiosyncratic features and its unique sound – has never been a mass-appeal instrument. The American Professional Jaguar is much more likely to do that than any other Jag in the Fender lineup. It’s streamlined, refined and versatile – if you love the vibe but want to duck the weirdness, this is the Jag for you.
Alternatives
Fender American Professional Classic Jaguar ($1,599/£1,479) – the other option in the AmPro range, which aims to hew more closely to vintage looks but without the eccentric wiring. It’s got a Mustang bridge, but its also a fair whack cheaper than the guitar here.
Fender Vintera III Mid ‘60s Jaguar ($1,349/£1,029) – if you want a Jaguar that hews as close as possible to vintage spec and feel, this Mexico-made guitar delivers that in spades. But watch out for that bridge!
Fender Limited Edition Johnny Marr Signature Special Jaguar ($2,999/£2,869) – the second edition of Johnny’s revolutionary signature Jag takes things in a very different direction, with the Jaguar pickups swapped out for a trio of lipstick units.
Fender Kurt Cobain Jaguar ($1,999/£1,579) – another heavily modded twist on the Jaguar recipe, this recreation of the Nirvana man’s favoured axe has a Tune-O-Matic bridge and a pair of DiMarzio humbuckers.
Image: Adam Gasson
Specs
- NAME: Fender American Professional Jaguar
- PRICE: $1,899/£1,899
- ORIGIN: USA
- BODY: Alder, solid
- NECK: Maple, bolt-on
- NECK PROFILE: Deep C
- FINGERBOARD: Rosewood, 9.5” radius
- FRETS: 22, narrow-tall
- NUT: Bone
- HARDWARE: ClassicGear J-Bridge, Panorama Trem, ClassicGear tuners
- ELECTRICS: 2x V-Mod III Single-Coil Jaguar pickups, three-way pickup selector, volume and tone (with push-push vintage/modern bridge voicing), normal/series switch (w/ separate volume and tone controls)
- SCALE LENGTH: 610mm/24”
- NECK WIDTH: 43mm at nut, 51.5mm at 12th fret
- NECK DEPTH: 21mm at first fret, 23mm at 12th fret
- STRING SPACING: 36mm at nut, 52mm at bridge
- WEIGHT: 3.9kg/8.4lbs
- FINISH: Gloss polyurethane (body and headstock), satin polyurethane (neck)
- FINISH OPTIONS: Dark Night (shown), 3-Color Sunburst, Olympic White, Black, Oxblood
- EXTRAS: Fender Deluxe Moulded Hard Case
The post Fender American Professional Jaguar review: “if you love the vibe but want to duck the weirdness, this is the Jag for you” appeared first on Guitar.com | All Things Guitar.
Free British Guitar Amp Plugin
Ernie Ball Music Man Introduces DarkRay II Bass
Ernie Ball Music Man has introduced the DarkRay II bass, expanding on the aggressive, modern foundation of the original DarkRay with fully integrated, polyphonic octave-up and octave-down effects. Pairing a true 4-string Music Man bass with two built-in distortion voices and a fast-tracking octave, the DarkRay II is available in Black, Showtime, Spectralite, and Mean Green Burst.
At its heart, the DarkRay II is unmistakably Music Man. A single neodymium humbucker is paired with a custom Darkglass active two-band preamp, and with the effects disengaged, the instrument behaves just like a two-band StingRay, with bass and treble controls that both boost and cut. The DarkRay grew out of Music Man's desire to bring the distortions from the Darkglass Alpha·Omega pedal into a StingRay Special, and the DarkRay II continues that legacy: A push/push function on the gain control switches between two distinct distortion voices, Alpha and Omega.
The new octave section is fully polyphonic, tracking chords, intervals, and multiple strings at once with fast, seamless response. A push/push function on the octave control selects one octave up or one octave down, while the same knob doubles as a wet/dry blend for anything from a touch of sub underneath the core tone to a fully saturated octave. Both the distortion and octave knobs feature LED rings that illuminate when engaged and change color to indicate the selected mode, providing instant visual feedback. A three-way switch selects the core tone, octave only (middle position), or octave combined with distortion (neck position), making it easy to move from tight, punchy bass tones to massive, harmonically rich textures.
View an exclusive DarkRay II demo video with bassist Josh Paul below:
Available in 4-string format, the DarkRay II is built on a solid ash body with a high-gloss polyester finish, paired with a five-bolt roasted maple neck in a comfortable "C" profile. An ebony fretboard with an 11" radius, white dot inlays, and 22 stainless steel frets sits on a 34" scale, with the neck and fretboard finished in a gunstock oil and hand-rubbed wax blend for a fast, broken-in feel. Black hardware, a black-plated vintage Music Man bridge, and custom lightweight tuners complete the look. The preamp runs on two 9-volt batteries, and each DarkRay II ships with Ernie Ball rechargeable batteries and a mono case.
DarkRay II features include:
- Fully polyphonic octave-up and octave-down effects with wet/dry blend
- Alpha and Omega DarkRay distortions
- LED rings indicate when (and which) effects are engaged
- Active custom Darkglass two-band EQ preamp with single neodymium humbucker
- Three-way switch: core tone, octave, or octave + distortion
- Solid ash body, roasted maple neck, ebony fretboard, 22 stainless steel frets
- Available in Black, Showtime, Spectralite, and Mean Green Burst
The Ernie Ball Music Man DarkRay II Bass is available for a street price of $3,299. For more information, visit music-man.com
DarkRay II
Ernie Ball Music Man has introduced the DarkRay II bass, expanding on the aggressive, modern foundation of the original DarkRay with fully integrated, polyphonic octave-up and octave-down effects. Pairing a true 4-string Music Man bass with two built-in distortion voices and a fast-tracking octave, the DarkRay II is available in Black, Showtime, Spectralite and Mean Green Burst.
Bad Cat Unleash V3 Amp Utility Interface
Bad Cat Amplifiers has unveiled Unleash V3, the latest evolution of its innovative amplifier utility platform. Designed to give guitarists control over their amplifier's volume without compromising on sound or feel, the Unleash V3 combines a 150-watt reactive load attenuator with a 100-watt, ultra-transparent solid-state power amplifier.
Unlike conventional attenuators, which are designed primarily to reduce volume, the Unleash V3 works in both directions, allowing players to turn high-powered amplifiers down to bedroom levels or take the fully saturated sound of a low-wattage amplifier to the biggest stages. It can absorb the output of a cranked amplifier or take that same saturated signal and amplify it with 100 watts of clean power. Throughout the process, the player's amplifier remains the source of the tone. The Unleash V3 simply gives that tone the freedom to go wherever it's needed.
Transparent Reactive Attenuation
When pushed, tube amplifiers can deliver a delicious blend of warmth, compression, and harmonic richness. The Unleash V3 allows players to achieve that sound without being limited by the resulting volume.
Its 150-watt reactive load attenuator absorbs the output of a cranked amplifier after the power tubes have reached saturation, preserving the feel and dynamics of the amplifier while bringing its volume down to a manageable level. From a 100-watt head in the bedroom to a cranked boutique amplifier in the studio, the Unleash V3 makes it possible to play at the volume the situation demands.
100-Watt Re-Amplification
The Unleash V3 also solves the opposite problem. Low-wattage amplifiers are capable of producing extraordinary tones, but their limited output can make them unsuited for larger venues. The integrated 100-watt solid-state power amplifier takes the saturated output of a small amplifier and brings it to the stage with substantial clean headroom. Players can enjoy the character and responsiveness of a fully cranked 5-watt amplifier while delivering the volume and authority required for a full band.
For recording and live applications, the Unleash V3 features Bad Cat's Purepath balanced analog XLR direct output. Designed to deliver an authentic, consistent signal to the mixing console or recording interface, Purepath provides cabinet-response voicing without latency or digital conversion.
Beyond its core attenuation and re-amplification capabilities, the Unleash V3 incorporates a collection of practical features designed around the needs of working guitarists.
Cabinet Dynamics controls allow players to shape the low- and high-frequency response to replicate the way a speaker cabinet behaves as it is driven harder. A post-power-amp serial effects loop places delays, reverbs, and modulation effects after the amplifier's power section, even when the amplifier itself does not have an effects loop.
Dual foot switchable channels provide independent volume and tonal controls, making it easy to move between rhythm and lead levels without changing the character of the amplifier. The Purepath XLR output includes selectable Edge/Center cabinet voicing, while a dedicated headphone output with independent volume control makes silent practice possible.
With multi-impedance compatibility and dual speaker outputs, the Unleash V3 is designed to integrate seamlessly into virtually any amplifier and cabinet setup.
Key features include:
- Dual-Function Design: Reactive load attenuator and 100-watt solid-state power amplifier in one unit.
- 150-Watt Reactive Load: Multi-impedance compatibility for 4, 8, and 16-ohm amplifiers.
- 100-Watt Re-Amplification: Ultra-transparent solid-state power stage with clean headroom.
- Dual Channels: Independent Volume, Low, and High controls, with included footswitch.
- Post-Power-Amp Serial Effects Loop: Instrument/Line level selection for flexible effects integration.
- Purepath Analog Direct Output: Balanced XLR output with selectable Edge/Center cabinet voicing.
- Dedicated Headphone Output: Independent volume control for silent practice.
- Flexible Speaker Connectivity: Dual 1/4-inch speaker outputs.
- Automatically Adjusted Output Impedance: Output to speaker cab automatically adjusts to impedance levels between 4 and 16 ohms.
Bad Cat’s Unleash V3 carries a $799 street price. For more information, visit badcatamps.com.
Unleash
Bad Cat has introduced their newest iteration of the Unleash amp utility interface.
Recording King Introduces Standard Series All-Solid Acoustic Guitars
Recording King has unveiled a new line of all-solid acoustic guitars designed to evoke iconic instruments of the "Golden Era" through traditional pre-war stylings. The RK Standard Series guitars are open, resonant, and responsive to each playing style, built to handle a heavy pick attack or lighter fingerstyle touch.
Every RK Standard model is thermo-cured to improve stability, clarity, and tone. Polished bullet-end frets, hand-selected rosewood fingerboards, and slim tapered necks aim to provide easy playability. The instruments have a “low-gloss” finish, a flat, super-thin coat that sits between satin and gloss, with a subtle silk-like sheen. Slim bindings, small pre-war-style tuner bushings, and real abalone inlays give the instruments a classic vibe.
Available in Dreadnought, OM, L-00, and 000 12-fret body shapes, key features include:
- Solid AA North American Sitka, Solid African Mahogany, and Solid East Indian Rosewood Construction
- Low Gloss Natural and Burst Finishes
- Tapered C-Shape Neck Profile
- VFA1 Bracing, Forward Shifted/Scalloped
- Ships with a deluxe 25mm gig bag with embroidered logos
Dreadnought models include the D60, D60 Burst, D70H, and D70H Burst, each with 25.39” (645mm) scale length neck.
See the D60 Dreadnought in Vintage Burst demo video below:
Orchestra Model highlights models include the OM60, OM60 Burst, OM70H, OM70H Burst, each with 25.39” (645mm) scale length neck.
000 12-Fret models include the 00060, 00066 (All Mahogany), 0070H, each with 25.39” (645mm) scale length neck.
L-00 Bluesmaster models include the BM60, BM60 Burst, BM60 Marmalade Burst, BM60 Sepia Burst, BM70, BM70 Blacktop, each with 24.80” (630mm) scale length neck.
See the BM70 00 Bluesmaster Blacktop demo video below:
The RK Standard Series continues the revitalization of the Recording King brand under the direction of St. Louis Music.
Recording King’s Standard Series models carry street prices ranging from $749.99 to $999.99 depending on tonewood and finish. Burst finishes cost an additional $50 and Rosewood construction costs an additional $200 for all models. For more information, visit recordingking.co.
RK Standard Series
Recording King has unveiled a new line of all-solid acoustic guitars designed to evoke iconic instruments of the ‘Golden Era’ through traditional pre-war stylings. The RK Standard Series guitars are open, resonant and responsive to each playing style, built to handle a heavy pick attack or lighter fingerstyle touch.
Positive Grid Spark PEDAL Review
Positive Grid’s Spark 40 amp did a lot to make digital amps more accessible and approachable in the minds of value-minded players. In fact, the Spark 40 amp was the best-selling guitar amp of 2023 on Reverb, which says much about how effectively this formula resonates with consumers. Although Positive Grid amps like Spark 40 and its successor, the 50-watt Spark 2, are very capable of being employed in concert settings, many players primarily use them at home as practice amps, perhaps because of their small form factor.
But the new Spark PEDAL takes Positive Grid’s technology and shrinks it into a package optimized for the stage. It’s essentially a complete rig, with 33 amps, 43 effects, and a looper. It can also be used as a recording interface. Better still, it weighs just under 1.25 pounds. You can store six presets across two banks. And you can plug it straight into an amp, PA, powered speakers, or DAW. It even has a built-in rechargeable lithium-ion battery that can last up to seven hours. And for deep divers, there are more than 100,000 downloadable tones available via the Spark app’s ToneCloud. Pretty impressive for a piece of kit that takes up the same amount of room as a few pedals.
Quick Tones on the Go
It’s pretty easy to get around the Spark PEDAL at the purely physical level. The interface has five knobs, and each has secondary functions that switch depending on whether you use amp or FX mode. Amp mode defines your core sound via six basic amp types: clean, glassy, crunch, hi-gain, metal, and bass, and within these amp types, four knobs control gain, bass, mid, and treble. In FX mode the five knobs control drive, modulation, output volume, delay, and reverb, and each knob also activates a sub-menu with more specific options for each effect category—for example, digital, vintage, multi-head, or reverse delay types.
Although there is no onboard display, a color-coded LED that encircles the output volume knob lets you know the level of the effect you adjust. The control panel also has a built-in tuner, which is accessed by holding down the center volume knob. Because the knobs have multiple functions—and some functions, like engaging the looper or preset mode, or switching preset banks, require pushing two footswitches—it helps to keep the manual nearby as you get to know the unit. But once you figure out the lay of the land, navigating the pedal’s intricacies tends to be second nature.
That said, if you only use the Spark PEDAL’s onboard interface to control things, you miss out on the much greater possibilities afforded by the Spark app. Even those new to using an app with an amp or effect are likely to be struck by the ease with which you can pull up and manipulate the seemingly endless array of rigs, as well as the ability to transition between presets without latency.
Sparks of Inspiration
With an Ernie Ball Music Man in hand, I listened to the Spark PEDAL through headphones first—just to hear it in an uncolored state. I know the Spark app pretty well, but I wanted to see if I could use the pedal’s knobs exclusively to create my tones. I selected the glassy amp, added a touch of vintage delay and hall reverb and saved it to preset 1 as a base tone. I then chose the clean amp with a modest amount of multi-head delay and studio reverb for preset 2. Both sounds were fantastic and did the trick for a basic lead and rhythm setup that I could switch between.
When using just the pedal, parameters like delay time and feedback are fixed at settings that work across many musical applications. Though I liked what I heard, these fixed settings could frustrate users that want to work with the hardware side of the Spark PEDAL exclusively. Like I said, fine-tuning these parameters using the Spark app is pretty easy. But you still need the app to pull it off, and for some users this will be a step too far outside the realm of physical interface with the unit itself.
The Spark PEDAL also works great with amps. I hooked up a vintage silver panel Fender Musicmaster Bass amp and was pleasantly surprised. Using the app, I pulled up the “Silver Ship” preset, which is a clean sound based on a Roland JC-120, with compression, chorus, and reverb. I bypassed the amp model to use the effects exclusively and added a vintage delay. The sound was lush, warm, and very JC-120-like—perfect for jangle pop, dyad 10ths riffs, and even metal power-ballad, open-string, broken-chord figures.
One thing led to another, and I found myself dabbling with the “Crazy Train” preset—this time with its Mesa/Boogie Rectifier-inspired amp model activated. After a few slight tweaks to better match the Musicmaster amp, I got a bone-crunching sound with massive bottom end and great definition in my palm-muted low-string chugs. The little vintage Fender sounded like a modern metal machine! The preset’s noise gate worked remarkably well, but even with my guitar volume up at 10, there was little noise to contend with.
“Once you figure out the lay of the land, navigating the pedal’s intricacies becomes second nature.”
Simple Grooves
There are many overlapping features between the Spark PEDAL and its Spark Amp siblings. But one major advantage the Pedal has—apart from its small size—is having three footswitches to control the functions for the pedal’s 60-second looper.
For me, though, the groove looper option, which lets you select the parameters of the loop—number of measures, tempo, and drumbeats—and starts the loop after a count-off is more than enough for my basic needs. It’s a really foolproof way to get rhythmically clean loops.
The Verdict
I’m a big fan of Positive Grid’s Spark amps, and also own one. So naturally, I wondered if I needed the pedal. On the surface, the Spark PEDAL seems to simply be a Spark amp without a speaker. But while they share many features, the Spark Pedal fills a different need. I recalled a time I had to play a jam straight into the house amp dry. It was not fun at all. But the simple, compact, and self-contained Spark Pedal would have saved the day. It puts much of the best Positive Grid technology into a performance-ready, ultra-portable rig that you can transport in a gig bag compartment, use at Madison Square Garden, and ride home with on the subway. That’s about as convenient as it gets.
Positive Grid Spark Pedal
“I was mad about that”: J Mascis is jealous of his friends Kim Gordon and Thurston Moore for their Gilmore Girls cameo
![[L-R] J Mascis and Kim Gordon](https://guitar.com/wp-content/uploads/2026/11/J-Mascis-and-Kim-Gordon@2000x1500.jpg)
Turns out Dinosaur Jr.’s lead singer and guitarist J Mascis has spent a lot of time in Stars Hollow, the small Connecticut town where Lorelai and Rory Gilmore lived out the ups and downs of mother/daughter life in Gilmore Girls.
On a recent episode of the Bandsplain podcast, Mascis and host Yasi Salek go into their shared fandom of the show. It first comes up when they discuss shirts for the Dinosaur Jr. album, Green Mind. Salek puts the figure for a vintage print at $3,000. This reminds Mascis of when that shirt was seen on Gilmore Girls.
“Somehow the shirt’s making me sad. It’s making me think of Gilmore Girls, which I love. There was an episode where the boyfriend wore that shirt, but it didn’t have the band name on it. It just had the girl bigger,” Mascis says. “I felt so ripped off.”
- EDITOR’S PICK: We speak to bass sensation Blu DeTiger on embracing her roots and inventing new genres
Jess Mariano, played by Milo Ventimiglia, wore a shirt on the show that featured the cover of Green Mind. But the text was obscured by his jacket, so all the viewers could see was the legendary image of a young girl with a cigarette in her mouth.
They stayed on the topic for a bit longer as Salek mentioned Mascis’s good friends and fellow alt idols, Kim Gordon and Thurston Moore of Sonic Youth, who made a cameo on the show. Salek believes Mascis should have been given a cameo as well, but he never was.
“I was mad about that, too,” Mascis says.
However, the producers must have known he was a big fan. When the show came to its conclusion in 2007 after 153 episodes, Mascis received a gift even though a Dinosaur Jr. song was never synced:
“I remember getting these Gilmore Girls sweatpants that they gave away to everyone on the last episode,” Mascis tells Salik, which he can only recall came into his possession because he loved the show.
Dinosaur Jr. released their 13th studio album, There Near, on 28 August, 2026, and have a number of tour dates planned in 2027. For a full list of dates, head to their official website.
The post “I was mad about that”: J Mascis is jealous of his friends Kim Gordon and Thurston Moore for their Gilmore Girls cameo appeared first on Guitar.com | All Things Guitar.
“Your instrument is your tool for self expression” Blu DeTiger on embracing her roots and inventing new genres to follow her musical muse
On N.Y. Baby, Blu DeTiger introduces you to your new favourite genre: boogie sleaze. It’s the affectionate name she’s given the sonic world of her second record, one filled with buoyant beats, disco and funk bounce, and slinky bass lines courtesy of DeTiger’s virtuosic playing.
“I like making genres up,” Blu says with a smile, chatting to Guitar.com ahead of her recently released second record. “It’s a combination of a few things… this funk, soul, boogie, disco sound, and the sleaze is for the New York edge, and the edginess that some of the songs have.”
DeTiger is video calling from her home in New York, the city at the core of her second album. “My whole musical journey started here and still is woven into the city,” the 28-year-old reflects. The iconic city that never sleeps has a major influence not only on the record’s name, but also the way it sounds.
“I wanted the music to feel like what New York represented to me,” she continues. “Which is independence and freedom, potential and possibility. A little chaos, a little desire, a little sexiness, a little main character vibes, and I think all of those themes are what the city brings out in me specifically”. With N.Y. Baby, that mission has been accomplished.
Image: Press
State Of Mind
Born and raised in the city that never sleeps, Blu grew up with a love of NYC icons like Chloë Sevigny, Blondie’s Debbie Harry and Talking Heads’ Tina Weymouth. Picking up the bass in her early years, Blu immersed herself in music – even playing the iconic venue CBGB before she turned ten.
Gigging around the city and playing bass for other artists while she was in middle and high school, as well as DJing, Blu’s name spread via word of mouth. “All these opportunities were coming from me saying yes to things, then being at the next gig and someone there seeing me and booking me for the next thing,” she adds.
In 2019, Blu started releasing music under her own name, racking up listeners with her euphoric funky sonics – and garnering huge viral success for bass covers of tunes by Doja Cat, Megan Thee Stallion and Prince during the Covid-19 lockdowns. Excellent projects like 2021’s EP How Did We Get Here?, and 2024’s debut album All I Ever Want Is Everything followed; and along the way there’ve been a succession of starry gigs and side quests.
For starters there was a memorable guest appearance in Olivia Rodrigo’s concert film Driving Home 2 U, then she joined Bleachers on Saturday Night Live in 2022 (later this year she’ll join Jack Antonoff on their UK tour), and in 2024 she became the first woman and youngest bassist to release a Fender signature model.
Image: Press
Changing Lanes
N.Y. Baby comes after at a time of change, though; with a period of time with no label or management. Blu reflects that she “really had to go back to [her] roots, go back to New York, and really think about what I wanted to make; and make that without anyone telling me what to make.”
“I think it took a lot of trust within myself and self confidence,” she continues. “To just be like: ‘No, this is what it’s going to be, and I’m making it because I like this type of music. So if I like it, hopefully other people do too.’”
One way Blu kept her creative vision on-track in the studio was with a PowerPoint presentation that she could always refer back to. It outlined how the music should sound (“I was like: I want it to make people dance, I want to be able to play it in DJ sets, I want it to feel sexy and slick,” she explains), as well as ideas for visuals, notes on how it should be produced and beyond. The results are a whip-smart collection of funk and disco fuelled pop.
From the cowbell groove of Makeup, to the psych-flecked flourishes on Rize; the Flavor Flav-featuring sunshine of the record’s title track (an incredibly supportive pal of Blu’s, who reflects that “everything he says feels so iconic”) and house beats of Heat, it’s elegantly crafted and endlessly catchy. It’s a record that sounds effortless, but take a peak behind the curtain and there’s hugely intricate production and instrumental lines that make up each tune.
Bass In The Place
Throughout, DeTiger’s distinctive bass lines bolster each track. “Most of these songs started with the basslines,” she explains. There was a particular focus going into making sure the bass lines could really shine and be the driving force of each song. “To me, good basslines are basslines that can be sung back as much as a vocal melody,” she muses. Each bassline had to check the boxes of “holding the groove down, being memorable as much as a vocal melody, and being catchy enough, and having a driving force and move the song along, and support the song structure.”
“And it had to be fun to play,” she adds with a laugh, and this infectious fun is a thread throughout N.Y. Baby. In the studio, Blu was mostly playing her signature Fender. “I was playing on the back pickup, which is more of a Bernard Edwards type of tone, a little bit more midrangey and punchy,” she says.
It’s now been two years since Blu first released her Fender sig, but the joy at knowing other people can play the instrument hasn’t worn off. “Oh my god, it’s so cool,” she grins, when asked about how it feels to know other people are playing the instrument. “Your instrument is your tool for self expression, so the fact that someone is using something that I made and created to express themselves, is the coolest thing ever.”
Being a prolific player, Blu also receives messages from young people, and especially women, sharing that she inspired them to pick up the bass (and sometimes, that bass is her signature model!) “It feels really cool,” she reflects, adding that Fender have been hugely receptive to working collaboratively on the instrument, with a new colourway in the works for this record.
The instrument is the perfect addition to the sonic sunshine of N.Y. Baby, a dreamy record that’ll be just at home during late nights at clubs, to sun-drenched festival sets. As Blu prepares to take the record on tour, how would she like punters to feel when they see the album live? “I want them to dance, I want them to get out of their head into their body. I want them to feel joy, and to feel good!” With boogie sleaze, it’d be hard not to.
Blu DeTiger’s N.Y. Baby is out now on Warner Bros, she supports Bleachers on their UK tour in November/December 2026.
The post “Your instrument is your tool for self expression” Blu DeTiger on embracing her roots and inventing new genres to follow her musical muse appeared first on Guitar.com | All Things Guitar.
Holiday Gift Guide 2026!
From under-$50 stocking stuffers to big-ticket amps and guitars, here are 44 gift ideas for every player on your list.
Rig Rundown: Mastodon [2026]
PG’s Chris Kies took a field trip from Nashville to Memphis to catch Mastodon, where Bill Kelliher walked us through a rack that programs his amps for him and new guitarist Nick Johnston explained why he runs his guitar into an amp… and little else. 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.
Hand-Drawn
Kelliher drew the Sparrowhawk himself. He describes the shape as an RD meeting a Firebird, and he kept it away from anything pointy because he wanted something that suited the organic side of what Mastodon does. The first prototypes “felt like butter.” Volume and tone are per-pickup with push-pulls for coil splitting, and the input jack moved to the side after he set the first one down on the floor.
Patina Match
The second Sparrowhawk is finished to match one of Kelliher’s silverburst Les Paul Customs—he picked the one with the best patina, where the silver had turned green, and sent it to ESP so they could photograph it and get the color exact.
Heavy Lifting
The LTD Royal Shiva is seriously heavy—enough that Kelliher swaps guitars through the set rather than wear it all night. He won’t hear about having anything chambered, though.
Georgia Built
Kelliher’s Banker is built by Matthew Hughes, a friend from Georgia who’s also made guitars for Marcus King and Brent Hinds. Kelliher calls it the finest hand-built guitar he’s played; Hughes does his own binding and painting.
Chris’s Custom
A 1987 Les Paul Custom that belonged to a friend, who left it with him before he died. Kelliher had always told him he wanted the guitar if he ever sold it. He keeps it and thinks of him.
The Father’s Son
A gunmetal-gray Les Paul Custom loaded with Seymour Duncan Distortions, which Kelliher introduces as the younger sibling of the ’87.
Seattle Find
A ’77 or ’78 Les Paul Custom Kelliher bought in Seattle’s U District about 20 years ago. It hadn’t been on tour in years, mostly living at home, and he brought it back out because it’s a workhorse.
Butterslax
The Friedman Butterslax is a three-channel head Kelliher helped design with Dave Friedman, and it’s been out about a dozen years now. He calls it one of his favorite-sounding amps in the world. He lives on the clean and channel two, with the third there for pushing solos with a lot of gain. Each channel has its own volume and EQ.
The Operating System
A Line 6 Helix Rack holds Kelliher’s effects and MIDI-programs everything else—he describes it as telling the amps what to do. He’s tried the Axe-Fx and a Kemper and found the Helix easier to get his head around. Friedman cab IRs go to front of house, and hearing his own isolated tracks through the PA at virtual soundcheck is what convinced him the sound out there is covered.
The Future
Synergy modules cover fly gigs where the heads can’t travel, and Kelliher has them in the rack too—an Orange RD for gain and a JCM800 that handles his cleans and a dirtier channel both, all MIDI-switched from the Helix song by song.
Sausage Making
A Boss RC-600 runs clicks, samples, and backing tracks. Kelliher programs it in Pro Tools and dumps it in. The band has been on clicks since Crack the Skye in 2009; now there’s a video wall to stay locked to. Four stereo outputs mean front of house can mix the tracks like separate instruments, and songs can start cold without a count-off. A Radial JX-44 handles guitar switching.
The Masterpiece
Johnston’s signature Schecter V came about when drummer Brann Dailor suggested he needed a pointy guitar in this band. He designed it last year, with a purpleheart and wenge neck and an ebony board, master volume, master tone, and a five-way he never touches in Mastodon; it stays on the bridge, and he only uses the other positions on his own material. It’s spec’d like his S-model otherwise, and it exists in a couple of other colors, including purple.
Nothing to Hide Behind
Johnston plugs a custom-shop Bad Cat Hot Cat 50, basically straight in. He grew up on guitar-into-amp and says it keeps everything tighter and forces him to own his mistakes.
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