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
General Interest
Peavey Bandit PreAmp Pedal Steals Thunder from Competition
Peavey Electronics® announces the Bandit® - Supreme Teal Stripe Preamp pedal. Based off the revered and long out of production Peavey Supreme 160 head, the new pedal delivers the legendary solid state lead channel tones in a compact, easy to use package.
The original Teal Stripe Bandit 112/S was released in 1989. The Supreme 160 was the head version. Since its release, the amp head has become a pawn shop gem. Often referred to as the “OG high gain solid state amp”, “the best solid state metal amp”, or simply “the workhorse”, the lead channel provided a novel patented active EQ circuit, known as Bottom, Body, and Edge, along with a patented update to the formidable early ‘80s Saturation circuit, known as SUPERSAT™, that was very responsive and extremely flexible – able to dial in anything between a solid crunch tone to the extreme, brutal tones of death metal all with the reliability of solid-state technology. The biggest drawback to the head was its weight. The Supreme 160 head weighed in at a whopping 60 lbs.! For a head!
Today, Peavey succeeds in achieving those famous tones within the confines of a preamp pedal able to fit on nearly any pedal board. Loaded with PRE and POST gain control supported by GAIN and MIDSHIFT switches, the “must have” SUPERSAT™, the three band active BOTTOM, BODY, and EDGE EQ, the pedal gives players easy access to those desirable tones at a click of a button, at an affordable price. Hardware features include ¼” input and output, internal bipolar supply from a standard 9v supply/battery, power input, and a hard bypass switch with anti-click circuitry.
To learn more, visit Peavey at NAMM Booth 210A or online at www.Peavey.com
Biffy Clyro touring guitarist says he “can’t think of anything more boring” than playing acoustic guitar
When I tell people I play guitar, they’ll often ask me, “acoustic or electric?” to which I’ll reply, “erm, both?” But not every guitarist has time for both, like Biffy Clyro and Oceansize guitarist Mike Vennart, who pulls no punches on his thoughts on playing acoustic guitar.
In an interview in the latest issue of Guitarist magazine, Vennart explains how he “can’t think of anything more boring” than playing the acoustic guitar.
Asked about the best bargain he’s found when buying guitars, he notes the time he bought a Godin 5th Avenue – a ‘50s-inspired hollowbody archtop with F-holes – for just £350 on eBay, and how he’s able to “get away” with using it at acoustic shows.
“Over lockdown, I’d accumulated a ton of air miles and, obviously I couldn’t use them, so I changed them into points and bought a Godin 5th Avenue on eBay for like 350 quid,” he says.
“It’s not my usual kind of guitar at all, but it’s got class, and I can kind of get away with using it at acoustic shows, even though it’s not really acoustic. It makes me feel a certain way, it’s got a beautiful sound, and it’s nice and easy to play.”
He goes on: “But I fucking hate playing acoustic guitar. I can’t think of anything more boring! [laughs], so this thing brings the best out in me – I can get a lot of inspiration out of this guitar. It’s got one single P-90 in the neck, and that’s all it does. It’s fantastic.”
Back in October, Biffy Clyro frontman Simon Neil weighed in on whether having a better understanding of technique can diminish your creativity as a guitar player.
“I’m still enthralled by the magic of the guitar, probably because I never conquered the technique side,” he said. “It’s this box of wonder that I approach as a creative instrument.”
The post Biffy Clyro touring guitarist says he “can’t think of anything more boring” than playing acoustic guitar appeared first on Guitar.com | All Things Guitar.
Seward Park Electric Introduces Arabica Distortion/Fuzz
Seattle-based effects builder Seward Park Electric has released the Arabica, a new distortion/fuzz pedal that reimagines the legendary harmonic percolator circuit with expanded control and modern versatility—without losing the raw, confrontational character that made the original a cult favorite.
At its core, Arabica stays true to the snarling, harmonically rich DNA of the classic circuit. But where the original offered a single, uncompromising voice, Arabica opens the door to a far wider range of sounds. The pedal’s four-knob control set provides the ability to fine-tune your sound with much greater precision than the original harmonic percolator.
Arabica offers the following features:
- Tone knob: absent from the original design, this knob allows players to shape the pedal’s response with precision, from sharp, bright, and brittle clang reminiscent of Albini–style edge to warmer, fuller textures that push the circuit into entirely new territory while retaining its distinctive character.
- Space knob: a unique, presence-style control that injects a bit of “air” in the sound and is capable of enhancing octaves under the right conditions.
- Loud knob: controls the overall pedal volume.
- Push knob: adjusts the amount of drive hitting the silicon transistors and diodes for a range of clipping levels, from angular breakup to fuzzy distortion.
- 9-volt operation using standard external power supply, no battery compartment.
- True bypass foot switch.
Arabica excels at articulate grit, percussive attack, and complex overtones that cut through a mix, while giving players the ability to dial in just how aggressive or refined that character becomes. Whether you’re chasing familiar abrasive tones or exploring something new with a similar harmonic bite, Arabica delivers a nuanced evolution of a famously uncompromising effect.
Each Arabica pedal is designed and hand-built in Seattle, Washington using carefully selected components and a straightforward, purpose-driven, creative design philosophy that defines Seward Park Electric.
The Arabica carries a street price of $140 and can be purchased directly from Seward Park Electric at sewardparkelectric.bigcartel.com.
Rig Rundown: Blink-182
America’s most beloved and immature pop-punks Blink 182 set off on their Missionary Impossible Tour last summer, and along the way, they stopped at the Orion Amphitheater in Huntsville, Alabama. That’s where PG’s Chris Kies connected with Justin Sweet, guitarist Tom DeLonge’s tech, and Brian Diaz, bassist Mark Hoppus’ tech. They took us backstage for a tour of the guitars and rack equipment that DeLonge and Hoppus brought out with them last year in this new Rig Rundown!
Brought to you by D’Addario.
Laughing Gaff
This Fender Tom DeLonge Starcaster, like the others in DeLonge’s arsenal, was built by Brian Thrasher for Blink’s 2023 tour, and it’s been in service ever since. It’s got a single Seymour Duncan SH-5 Duncan Custom pickup and a lone volume knob. DeLonge runs it with a set of Ernie Ball Paradigm strings (.011–.052) with a wound G.
After receiving the guitar, DeLonge asked Sweet for some gaff tape, which resulted in the stunning look and breathtaking poetry featured here.
Tom DeLonge: The Next Michaelangelo?
Within a day of receiving it, DeLonge also subjected this guitar, nicknamed “Milo,” to an aesthetic overhaul via stickers and some Louvre-worthy Sharpie work.
Tom DeLonge’s Signal Chain
DeLonge has left the Mesas, Marshalls, and Voxes behind for now and uses a Fractal Axe-FX III unit on the road. His main sound is based on a jumpered Marshall plexi amp and a Soldano X88-IR. For clean sounds, DeLonge goes for a hybrid sound of a CA3+ (Custom Audio Amplifiers 3+ SE) and a Fender Deluxe Reverb. The drive sounds are pushed through a model of a Marshall 4x12 cabinet loaded with Celestion Vintage 30s, and the cleans crank through a Vox AC-30 IR. A Rupert Neve Designs 5211 preamp helps bring the tones to life.
Changes are handled by a Fractal FC-12 backstage, and a FC-6 for DeLonge onstage.
Green Ray
Only played a few times on this tour, this Ernie Ball Music Man StingRay bass was used to record Blink’s 1999 breakout record, Enema of the State.
Take Off Your Pants and Jag-et
According to Diaz, Hoppus will message artists he likes on Instagram to ask them to paint his basses, like this commission from Ohio-based artist Burrito Breath. Nicknamed “Stoned Fruit,” this Fender Jaguar bass—now a Limited Edition signature model for Hoppus—carries Hoppus’ now-signature “reversed P” pickup configuration of a set of Seymour Duncan Quarter Pound P-bass pickups.
Mark Hoppus’ Signal Chain
Check out Mark Hoppus’ rack! He rolls with this Neural DSP Quad Cortex unit. His main sound is based off of an Ampeg SVT, and other key modeled sounds include a Keeley Noble Screamer, an Orange Terror amp, and a JHS 424 Gain Stage.
Also in the rack are a Radial JX 44, Fretronics RSW switching system, and a Rupert Neve Designs 5211 preamp.
Ernie Ball StingRay Bass
Neural Quad Cortex
Fender Starcaster
Fender Tom DeLonge Starcaster
Seymour Duncan SPB-3
Ernie Ball 2834 Super Slinky Strings
Radial JX44
Rupert Neve Designs 5211
Shure AD4Q
Radial JR5
Blackstar Live Logic 6-button MIDI Footcontroller
Martin Guitar Unveils Refreshed Road Series Lineup Ahead of The 2026 NAMM Show
C. F. Martin & Co.® is proud to announce the launch of its refreshed Road Series, a redesigned lineup of 20 acoustic-electric guitars—18 of them new or updated—created to guide players along their road to what’s next. The new structure offers a clearer and more intuitive way for musicians to choose the look, tone, and performance features that fit their needs.
Announced just ahead of The 2026 NAMM Show, the refreshed Road Series debuts a reorganized lineup built around two distinct paths:
- Retro: Vintage-inspired models with classic Martin character, traditional body shapes (D and 000), and warm, balanced tone.
- Modern: Contemporary designs featuring bold finishes, cutaway options (DC, OMC, GPC, and SC), fast-playing necks, and stage-ready styling.
To simplify comparisons, each model aligns with one of four updated style levels:
10 Style: Satin body; solid spruce or sapele top; solid sapele back and sides; Martin E1 electronics; inspired by Style 15 guitars.
12 Style: Gloss body; solid spruce top; solid sapele back and sides; Martin E1 electronics; inspired by Style 18 guitars.
13 Style: Gloss body; solid spruce top; solid black walnut or koa fine veneer back and sides; Martin E1 electronics (L.R. Baggs on SC-13E); inspired by Style 28 guitars.
Retro Plus: Gloss body; torrefied solid spruce top; solid mahogany or granadillo back and sides; L.R. Baggs electronics; elevated interpretations of Style 12 and 13 models.
The refreshed Road Series also spans a wide range of body shapes, including 000, OM, Dreadnought, and Grand Performance models, along with expanded Modern offerings featuring cutaways, such as the SC, GPC, OMC, and DC.
This updated structure bridges the gap between the X Series and Standard Series, giving players a clear understanding of where each model fits within the Martin family. The complete lineup will debut at The 2026 NAMM Show in Anaheim, California, where industry attendees can experience the guitars firsthand and explore how the new Retro and Modern paths streamline the decision-making process.
With clearer choices and expanded features, the refreshed Road Series provides an inspiring entry point into the Martin lineup and a pathway for players ready to take the next step in their musical journey.
For more information, visit Martinguitar.com.
Strum and Sing the Legendary American Train Song “Wabash Cannonball”
Carlos Santana thinks guitarists who play fast are no better than gym bros flexing their muscles: “Big deal, so what?”
If your idea of great guitar playing is shredding scales faster than a coffee-fuelled gym bro curls dumbbells, Carlos Santana has a message for you: “Big deal. So what?”
Speaking on the new issue of Guitarist, Santana suggests that too many players mistake technical skill for musical expression, forgetting that music’s true power lies in the way it moves people.
“Music isn’t a sport at the end of the day, especially for the listener,” he says. “If you just practise all day and night going really fast, after a while it’s a bit like going to the gym and seeing somebody flexing their muscles. Big deal. So what? Playing with spirit is like giving someone a hug that lasts for infinity. Time stops.”
According to Santana, it’s the heart and soul that make a guitar player memorable: “The only thing people will remember about your music is how you made them feel. They are not going to remember all the fast scales and ‘Look at what I can do!’ moments,” says the guitarist.
“But they will remember those three notes that made the hairs stand on the back of the neck and tears come out of their eyes, even if they don’t know why. That’s a whole other element, one I call spirit. Some people don’t know how to play with spirit, heart and soul. Those are three very important ingredients.”
Improvisation, he explains, is central to this approach and it’s all about embracing the unknown.
“Anybody can practise scales up and down. But there’s something about coming down a water slide. You don’t know how you’re going to land; it might be on your head or on your feet. That’s what happens when you deviate from the melody,” says Santana.
He cites John Coltrane, Miles Davis, and Wayne Shorter as teachers of this art, recounting Shorter’s wry advice on practising: “He’d tell them, ‘We don’t know what we are going to play; how do you practise the unknown?’”
Santana also credits a wide array of influences beyond the usual guitar pantheon. “I learned improvisation from Coltrane. I learned cosmic music from Sun Ra. I learned down-to-earth music from the Grateful Dead because they were heavily immersed in the folk and bluegrass worlds. And don’t dismiss the guitar playing of Bob Dylan. He played a lot of great guitar, which worked beautifully with his vocals.”
Placing particular emphasis on learning from soul singers, Santana says that “playing along to soul singers is something nearly every guitar player could learn from. I don’t care who you are, whether you are Al Di Meola or not, I’d recommend this to any guitar player. If you spend even one day learning how to play and phrase like those lady soul singers, you will become a better musician. This is the truth.”
The post Carlos Santana thinks guitarists who play fast are no better than gym bros flexing their muscles: “Big deal, so what?” appeared first on Guitar.com | All Things Guitar.
Turn pedals into outboard gear – and plugins into pedalboard-ready effects – with Electro-Harmonix’s new Effects Interface
Electro-Harmonix has announced the Effects Interface Hardware Plugin, a “first-of-its-kind” studio-and-stage tool designed to blur the line between physical pedals and software plugins.
At its core, Effects Interface is built to tackle two familiar problems for modern guitarists: running tracks from your DAW through real pedals, and integrating plugins into a physical rig. Rather than relying on special converters or direct boxes, the Effects Interface handles your signal and delivers it with care between your hardware and software via a single USB-C connection.
The Effects Interface operates in three distinct modes. Hardware Plugin Mode allows users to send audio from their DAW through pedals or other outboard gear just like software plugins on a track. Vocals, synths and even MIDI instruments can be routed through guitar pedals with minimal setup.
Pedalboard Mode flips that concept on its head. Here, players can route their instrument into a DAW, process it with plugins, and send the signal back out to their amp or pedal chain – effectively turning plugins into stompboxes. For players who rely on software amp models or effects that don’t exist in hardware form, this opens up new hybrid rig possibilities, both live and in the studio.
Finally, we have the Audio Interface Mode, which allows the unit to function as a traditional 2-in/2-out USB audio interface.
Physically, the Effects Interface is designed to live comfortably on a pedalboard. It features straightforward controls, a single footswitch, stereo I/O with dedicated level control sliders, and a headphone output for monitoring. Power supply and USB-C cable are included, keeping setup as simple as possible.
EHX describes the Effects Interface Hardware Plugin as a way to “knock down the walls between physical and plugin effects”, and the concept will likely appeal to guitarists looking to bridge the gap between modern DAW workflows and traditional rigs.
The Effects Interface Hardware Plugin is available now for $359.
Learn more at EHX.
The post Turn pedals into outboard gear – and plugins into pedalboard-ready effects – with Electro-Harmonix’s new Effects Interface appeared first on Guitar.com | All Things Guitar.
“‘Single’ and happy where I am at this point”: Mateus Asato addresses rumours of him joining Fender following Suhr exit
When Mateus Asato announced last week that he’d ended his 12-year partnership with Suhr, speculation quickly followed. After more than a decade with the brand – and a run of signature models along the way – fans were left wondering if another guitar company might already be waiting in the wings.
Those questions only grew louder days later when the 33-year-old shared a video of himself performing Jimi Hendrix’s Little Wing on a Stratocaster.
“Could it be that Fender made a move and signed one of the best modern players around? (please say yes),” a fan commented on the post.
Though Asato was quick to shut down the idea: “You guys are funny. Imagine playing Little Wing on a guitar that isn’t a Strat… Could it work? Maybe.”
“In my case, I just picked this strat because it fits the storytelling the most. Regarding this topic, I’m really chill. ‘Single’ & happy where I am at this point. Tchau tchau!”
In a longer follow-up comment (translated from Brazilian Portuguese), Asato reiterated that the Strat appearance isn’t a hint at a new endorsement deal.
“Dude, 95% of this video is me performing Little Wing. Imagine the heresy if this wasn’t touched in a strat?! Can’t. I just wanted to live up to the story told. Concerning this matter, I’m calm and waiting on God for direction of whatever next chapter. Hug!”
With brand rumours put to rest – for now – Asato is turning his attention back to music. The guitarist’s highly anticipated debut solo album is due in the coming weeks, and features the singles Cryin’ and The Breakup Song, which are now out.
“The album is definitely a journey through all the sides of Mateus,” Asato said in an interview with Guitar.com last year. “The Mateus who’s a sideman, Mateus as the Instagram boy, and then the Mateus that got more mature over the years. Who developed a different vision regarding music, regarding how I see guitar.”
The post “‘Single’ and happy where I am at this point”: Mateus Asato addresses rumours of him joining Fender following Suhr exit appeared first on Guitar.com | All Things Guitar.
The best fuzz pedals for all styles and budgets
Fuzz is the most honest of all the guitar effects. It has no interest in trying to sound transparent, organic or amp-like: buy a fuzz box and your tone is going to be truly, deeply, thoroughly messed up. That’s in a good way, of course – at least, as long as you get the right one.
The early fuzzes were, in a word, nasty. Pioneers like the Maestro Fuzz-Tone of 1962 brought heavy distortion with a brassy, mids-focused tone that cut through the mix but didn’t offer much sustain. It wasn’t until the Brits got involved – notably with the Fuzz Face and Tone Bender – that things took a turn for the smooth. Then came the Electro-Harmonix Big Muff of 1969, a sonic steamroller of full-frequency hugeness with violin-like sustain… and all the main foundations of fuzz as we understand it today were in place.
If you’re after a ‘normal’ fuzz pedal, then, the first thing you need to decide is whereabouts on that timeline you want to go for inspiration – from lo-fi buzz to silky sweetness – and whether you want your midrange to be strident, scooped or somewhere between the two.
There are, however, other options that go well beyond the basic brief of turning the plinky-plunk of the electric guitar into something bigger and angrier. Curious about octave fuzzes, gated fuzzes and filter fuzzes? They’re all covered below.
At a glance:
- Best classic fuzz: EarthQuaker Devices Barrows
- Best multi-voice fuzz: Walrus Audio Eons
- Best Big Muff-style fuzz: Electro-Harmonix Ram’s Head Big Muff Pi
- Best octave fuzz: Beetronics Octahive V2
- Best Harmonic Percolator type: Land Devices HP-2
- Best combined fuzz and overdrive: Great Eastern FX Co Focus Fuzz Deluxe
- Best fuzz for soundscaping: Noise Engineering Dystorpia
- Best fuzz for gated effects: ThorpyFX Field Marshal
- Best vintage-style nasty fuzz: Fredric Effects Nouveau Super Unpleasant Companion
- Best filter fuzz: Dreadbox Disorder
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Best classic fuzz: EarthQuaker Devices Barrows
EarthQuaker Devices Barrows. Image: Press
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Of all the early Brit fuzzes, the best for many people is the MkII Tone Bender – and that’s the source material for this mini pedal from the ever-excellent EQD. It’s super-smooth and rich, with that extra punch in the midrange that really represents the main difference between a Tone Bender and a Fuzz Face. It’s also a real cutie, if that word can reasonably be applied to anything with a picture of human remains on it.
Just be aware that, while it may be powered by three germanium transistors in true vintage style, this is no faithful replica: it’s thicker and bloomier than a real MkII Bender, making it ideal for doomy rock chords but not for snappy punk riffing.
Need more? Read our EarthQuaker Devices Barrows review.
Best multi-voice fuzz: Walrus Audio Eons
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Not to be confused with the Ages (five flavours of overdrive) and Eras (five flavours of distortion), the Eons is Walrus Audio’s attempt to capture the universe of fuzz in one compact stompbox – and while it won’t replace any pedal geek’s whole collection, it covers an impressive amount of ground.
Its primary weapon is a rotary switch that lets you choose from five different clipping circuits, covering everything from traditional silicon fuzz to a raging high-gain roar. But just above that is another special feature: a ‘lightning bolt’ control that you can crank for maximum clarity or pull back for spluttery voltage-starved effects. For sheer versatility, this goat might just be the GOAT.
Need more? Read our Walrus Audio Eons review.
Best Big Muff-style fuzz: Electro-Harmonix Ram’s Head Big Muff Pi
Image: Electro-Harmonix
This version is a nano-sized reissue of one of the very earliest models, so called because of the logo at bottom right (which was never actually supposed to be a ram, but never mind). It sounds enormous, naturally, and errs on the side of warmth rather than straying into the nasal buzz that can be a weakness with some Muffs.
Note that, while the link below is to our review of the J Mascis signature Ram’s Head, the plain grey version is the same on the inside – and cheaper.
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Need more? Read our Electro-Harmonix Ram’s Head Big Muff Pi review.
Best octave fuzz: Beetronics Octahive V2
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Octave fuzzes are a riot, but don’t get too hung up on the ‘octave’ part. Because while the Roger Mayer Octavia used by Jimi Hendrix on Purple Haze does bring out the squeals in a big way, many pedals of this type are more about boosting harmonics to create gnarly textures than actually generating extra notes. And the Octahive is a fine example.
In standard mode, this is a thick fuzz with all the warmth of a tiger’s cuddle. But double-tap the clever footswitch to engage octave mode and that tiger suddenly remembers it hasn’t had its breakfast, coming for your eardrums with a savagely snarly midrange. And yes, it will also give you an up-octave if you play single notes high up the neck.
Need more? Read our Beetronics Octahive V2 review.
Best Harmonic Percolator type: Land Devices HP-2
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In the 21st century, Interfax is the name of a Russian news agency. Back in the 1970s, it was a small electronics business in Milwaukee run by a man named Ed Giese. History doesn’t record whether Ed knew much about the Soviet Union’s GDP, but he certainly knew how to design a fuzz pedal – and that was the Harmonic Percolator.
Made famous by the late Steve Albini, the Percolator has a bucketful of gain and provides all the gurgles and splutters suggested by its name, but it’s actually tighter and more controllable than many fuzzes. The Land Devices HP-2 is one of the best-known and best-loved modern takes on that quirky circuit, and for good reason. It’s choppy and chunky, with great clarity, and sounds surprisingly sweet with the guitar’s volume backed off a few notches. Be prepared for some hiss, though: Percolators tend to be noisy.
Need more? Read our Land Devices HP-2 review.
Best combined fuzz and overdrive: Great Eastern FX Co Focus Fuzz Deluxe
Image: @mydeargear
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There are lots of overdrives that can be pushed into the fuzz zone when you crank the gain, perhaps the best example being the insanely good Hudson Electronics Broadcast. But the Focus Fuzz Deluxe does more than that: as well as nailing those prized Tone Bender sounds, it can serve as a medium-gain overdrive or even a clean boost… and has a second footswitch for engaging a raspy octave mode.
It also has the same midrange-tightening ‘focus’ control as the original non-Deluxe model, which is a feature that plenty of other dirt pedal designers would do well to learn from, and serves up all of this multi-mode magic in a little golden box that positively stinks of sheer handmade class.
Need more? Read our Great Eastern FX Co Focus Fuzz Deluxe review.
Best fuzz for soundscaping: Noise Engineering Dystorpia
Image: Richard Purvis
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Noise Engineering isn’t really a guitar pedal maker – it’s a company that specialises in synth modules, but decided to knock up a couple of stompboxes just for a laugh. And that lack of baggage is probably why the Dystorpia is such a fearlessly radical device.
Despite being a digital fuzz, this pedal can create some more or less traditional tones… but you won’t stick with them for long, because its array of knobs and switches opens up all sorts of possibilities for extreme noise creation. That includes some wild glitching effects, and even a freeze function for generating fuzzy ambient drones.
Need more? Read our Noise Engineering Dystorpia review.
Best fuzz for gated effects: ThorpyFX Field Marshal
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The idea of ‘boutique fuzz’ originated in the 90s with two pedals: the Z.Vex Fuzz Factory from the USA, and the Lovetone Big Cheese from the UK. This is a reworking of the latter, made in collaboration with original designer Dan Coggins, and it’s every bit as fruity as the original.
Its first trick is rich, thick, gravelly fuzz that will win you over in seconds; its second trick is a mid-boost mode for something sharper and more focused; and its third trick is the same squelchy, splatty mayhem – ‘gating’ the fuzz by using voltage starvation to clamp down on notes as they fade – that first made the Big Cheese famous.
Need more? Read our ThorpyFX Field Marshal review.
Best vintage-style nasty fuzz: Fredric Effects Nouveau Super Unpleasant Companion
The Maestro Fuzz-Tone wasn’t the only 60s pedal to assault the ears with a lo-fidelity buzzsaw blast: Japanese company Shin-ei kept churning out raucous noise-bringers long after most makers had switched to the more easygoing Fuzz Face formula. This little black wedge is a tribute to Shin-ei’s FY-2 Companion Fuzz and FY-6 Superfuzz, offering both circuits in one enclosure and adding extra tonal options.
Mind you, those options don’t include anything that isn’t downright hostile. Our review included the words ‘obnoxious’, ‘fanatical’, ‘insect-like’, ‘belligerent’ and ‘tinnitus in a box’. Don’t expect the sonic equivalent of an Indian head massage, then – but do expect a whole lot of fun.
Need more? Read our Fredric Effects Nouveau Super Unpleasant Companion review.
Best filter fuzz: Dreadbox Disorder
There is a way to make high-gain filth sound even cooler, and that’s to pair it with powerful EQ filtering. In the case of the Disorder, that means running an analogue CMOS fuzz through dual filters with adjustable resonance and the ability to track the dynamics of your playing.
Even in fixed mode, those filters give you much more tone-shaping flexibility than you’ll ever get from a traditional fuzz box; and once you engage the envelope mode, that flexibility gains the power of movement, with notes and chords getting either brighter or darker as they fade. It can be subtle, but it can also be a recipe for outlandish sci-fi swoops.
Annoyingly, while you can control the filters using an external device via CV, you can’t do so with a standard expression pedal. For that you’ll probably want the (much more expensive) Collision Devices TARS or Death By Audio Crossover Fuzz.
Need more? Read our Dreadbox Disorder review.
Why You Can Trust Us
Every year, Guitar.com reviews a huge variety of new products – from the biggest launches to cool boutique effects – and our expert guitar reviewers have decades of collective experience, having played everything from Gibson ’59 Les Pauls to the cheapest Squiers.
That means that when you click on a Guitar.com buyer’s guide, you’re getting the benefit of all that experience to help you make the best buying decision for you. What’s more, every guide written on Guitar.com was put together by a guitar obsessive just like you. You can trust that every product recommended in those guides is something that we’d be happy to have in our own rigs.
The post The best fuzz pedals for all styles and budgets appeared first on Guitar.com | All Things Guitar.
Lazy J x ThorpyFX The J review: “one of the best sounding, most tactile and responsive dirt pedals I’ve ever played”
£329 / $399, thorpyfx.com
Collabs are all the rage in the pedal world these days, but it’s still exciting when you see someone enter the field that hasn’t been there before. Jesse Hoff, the main man behind Lazy J, has won a reputation as one of the world’s foremost boutique amp makers over the last few decades. You’ll find his takes on vintage Tweed amps on stages and in studios with everyone from David Gilmour and Noel Gallagher to Ed O’Brien and Joe Satriani.
- READ MORE: Horrothia Effects Triage Deluxe review – the ultimate all-in-one gain machine for fussy tonehounds?
Hoff is also no stranger to effects either, having put out the well-regarded Cruiser boost/drive pedal well over a decade ago. But collaborations? That’s a new one.
Thorpy main man Adrian Thorpe is much more familiar with that sort of thing of course – whether that’s making signature gear for Chris Buck and Danish Pete, or collaborating with pedal legend Dan Coggins to revive both the Dinosaural and Lovetone brands.
Two tone connoisseurs teaming up to make something altogether a bit different for both of them then? Well, that sounds like a lot of fun…
“I like to work with good people who genuinely inspire me,” Thorpe tells me. “Jesse is such a great guy, one of the great amp builders. I’ve been an owner and huge fan of his Lazy J J 20 amp for years. It’s such a harmonically rich and beautifully tactile amp to play. It’s taken us about four years of collaboration to develop The J pedal, and we’re really proud of the result.”
Image: Press
Lazy J x Thorpy Fx The J – what is it?
As Adrian implies, the primary mission of The J is to faithfully emulate the tones and response of a J 20 amp in compact pedal format, itself derived from the classic Fender 5E3 Tweed Deluxe amp. To do that, The J includes a built-in transformer that can mimic the real amp feel, paired with a circuit chock full of high-grade audiophile capacitors and such. All of it is built to Thorpy’s famously military-grade specs, and differs from the usual Thorpy fare by squeezing it all into a rather lovely UV-printed enclosure. It’s still recognisably a Thorpy pedal of course, but one that feels equally indebted to the Lazy J boutique amp lineage.
As with the original, you get the option of a normal or bright channel, and the controls are suitably spartan for an amp based on the similarly simple J 20 – with independent volume for each, as well as a presence control, single tone and a master output. Things you won’t find on the top of the J 20 include a toggle switch to select X or Y mode – the circuit’s impression of either 12AX7 or 12AY7 valves – as well as a ‘supply’ switch, which is designed to emulate the J 20’s impressive attenuator.
Image: Press
Lazy J x Thorpy Fx The J – usability and sounds
I’ve owned, gigged and recorded with both vintage tweed amps and J 20 for over a decade, and so I approached The J with a bit of trepidation. Surely it couldn’t capture the magic touch-sensitive 3D sonic experience of an amp that’s simultaneously chiming with top clarity and snarling with chewy, barking midrange?
Plugging my Strat into a Deluxe Reverb set sparkly clean, I set The J in the lower gain 12AY7 mode and select the normal channel. One thing that’s worth being aware of here is that, like the J 20, the positioning of the volume of the channel you aren’t using does have an impact on the gain of the one you are – a weird eccentricity for sure but one that I respect Thorpy and Hoff going to the trouble of recreating here.
With the supply, output and normal volume set high (and the bright volume low), I’m greeted with a fat, harmonically rich, very sweet edge-of-breakup up tone, just what I love about tweed amps.
The bright channel is – as you’d expect – a touch brighter, but also more gainy than the normal channel. But utilising the additional controls I can dial in everything from a fat clean boost to snarling fuzz tone freakouts, much like a great old tweed amp.
Plugging in a Tele is Keef riff and Cropper heaven, and upping the gain with my P-90-loaded Les Paul has me revelling in the rich tonal spectrum of Neil Young. It’s a chewy feeling, slightly flabby, gorgeously addictive and crucially, superbly touch responsive guitar tone that the Thorpy J convincingly nails, even when tried back-to-back with my J 20 amp.
As a tweed emulator pedal The J responds magnificently to a lighter touch or guitar volume manipulation, and not only crucially captures both the playing feel and tone of a cranked amp, but also a lot of the quirky nature of the unexpectedly interactive control set. Hours of lush tonal experimentation await the tone curious player.
Image: Press
Lazy J x Thorpy Fx The J – should I buy one?
Thorpy has been producing some truly superb pedals for many years now, but The J might very well be the brand’s crowning achievement. It’s a superb tweed amp emulation that more than lives up to the Lazy J name, but there’s more to it than just that.
Even if you never cared about capturing the authentic sound of a tweed amp, The J is a fantastic overdrive pedal in its own right – in fact, it’s one of the best sounding, most tactile and responsive dirt pedals I’ve ever had the privilege of playing.
Image: Press
Lazy J x Thorpy Fx The J – alternatives
Capturing Tweed in a box is a notoriously tricky task, for a decent flavour however the Catalinbread Formula No. 55 ($189) is a JFET-based overdrive designed to replicate those classic Tweed Deluxe flavours. More pricey, but the Origin Effects Deluxe55 (£279) is an all-analogue tribute to the legendary Fender 5E3 with some twists. If you’re after a more digital emulation of the tweed thing, the Universal Audio Woodrow ’55 ($399) is worth a look.
The post Lazy J x ThorpyFX The J review: “one of the best sounding, most tactile and responsive dirt pedals I’ve ever played” appeared first on Guitar.com | All Things Guitar.
Case Study: Charlie Parr on Spider John Koerner’s Gretsch
Troubadour Charlie Parr brought a bit of history to the Fretboard Journal headquarters, a circa-1950 Gretsch acoustic that was owned by Spider John Koerner. The guitar was gifted to Parr by Koerner towards the end of his life.
It’s an unusual instrument, even by acoustic Gretsch standards. For starters, the headstock sports a mispelled logo. Beyond that, Koerner modified the instrument to be a 12-string, using mandolin tuners and a relocated pin bridge. “The top is wildly crooked. It shouldn’t work at all, but it does,” Parr explains. “I’ve been carrying it with me ever since John handed it over.”
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Did EarthQuaker Just Build the Ultimate Dr. Z Pedal?
Dr. Z and EQD meld minds and come up with a most flexible tube preamp that can add life to the output from your amp or at the input of a DAW.
ZEQD-Pre Preamp Pedal
A game-changing joint effort between EarthQuaker Devices and Dr. Z Amplification, the ZEQD-Pre injects your guitar rig with a healthy dose of tube-flavored character. Place this all-analog preamp pedal at the end of your signal chain, and you’ll revel in the harmonic-rich warmth and dynamic response you’d expect from a cylinder of glowing-hot glass. The ZEQD-Pre’s robust, passive 3-band EQ is just what the doctor ordered for fine-tuned tone shaping, pushing its preamp into ear-grabbing grit, or breathing new life into your favorite modeling patch. Moreover, this stellar stompbox features a switchable analog cabinet simulation for seamless DI recording and backline-free live performances. You also get a Boost footswitch with a dedicated Level control, delivering a wide-open volume bump that lets your solos soar high above the mix without sacrificing clarity or character. Finally, the ZEQD-Pre includes numerous thoughtful features, including a Ground Lift, Headphone output, and a balanced XLR DI output. Driven by an EF86 pentode — the same tube that fuels Dr. Z’s pristine, hi-fi amplifiers — the EarthQuaker Devices ZEQD-Pre offers a complete, all-analog amplifier system that fits right on your pedalboard.
Fender Unveils Unified Music Ecosystem
Fender Musical Instruments Corporation (FMIC) has introduced Fender Studio as a new brand, unifying PreSonus® Studio One Pro and its renowned recording interfaces together under the Fender name. Starting this year, Studio One Pro becomes Fender Studio Pro, while the Quantum and AudioBox Go lines transition to the Fender Quantum Series and Fender AudioBox Go.
The reimagined Fender Studio Pro environment introduces an updated visual design, native Fender amp and effects plugins - a first for DAWs, a new channel overview for faster mixing workflows, updated samplers and an AI powered audio-to-note conversion tool for layering sounds and inspiring intelligent chord technology for creative songwriting.
For artists, producers and engineers, this move represents more than a name change. It brings together the trusted performance of PreSonus hardware and software with Fender’s deep legacy in tone and musical expression.
New Fender Studio products include:
Fender Studio Pro 8 – The only DAW that comes equipped with new Fender Mustang Native Guitar & Rumble Native Bass Plug-ins which contain 50+ guitar and bass amps, 100+ built-in effects, classic tones and pro presets.
Fender Quantum LT Audio Interfaces – a new USB-C audio interface available in three models that seamlessly integrates with Fender Studio Pro 8
Fender Motion – A creative controller for the next wave of music makers where unique integration with Fender Studio Pro sparks inspiration, shapes sounds and brings ideas to life. Available spring 2026
“For more than a decade, Studio One Pro has set the standard for modern music production,” said Max Gutnik, Chief Product Officer, FMIC. “Its balance of power, creativity and ease of use has inspired countless artists and shaped how music is made today. With Fender Studio Pro, we are taking those celebrated features and enhancing them with a modernized interface, Fender’s award-winning amp and effects models and new intuitive workflows and capabilities that make creating music faster, more inspiring and more connected than ever.”
Combining Studio One Pro’s celebrated features and trusted performance with a new modernized interface and intuitive workflows, Fender Studio Pro 8 features Fender’s renowned amps and effects models that make creating music faster, more inspiring and connected than ever. Available exclusively in the Fender Studio app and Fender Studio Pro, the Mustang and Rumble Native plugins offer 57 guitar and bass amp models and hundreds of effects for players to find their sound.
From iconic instruments and amplifiers to award-winning digital platforms like Tone Master Pro and Fender Play, Fender remains dedicated to inspiring generations of artists and creators through technology, tone and timeless design. The new Fender Studio brand represents the next evolution of that vision, where tradition and innovation meet in the service of creativity. Anchored by Fender Studio Pro and the Fender Quantum Series Interfaces, this next-generation lineup delivers reliability, premium sound quality and seamless integration across hardware and software, from the studio to the stage. Built for artists, producers and engineers, Fender Studio enhances the creative process and brings ideas to life without disrupting the flow of inspiration.
“Having authentic Fender amps and pedals built straight into the DAW is a game-changer,” said Alissia, GRAMMY®-Nominated Producer of the Year, Bassist and Artist. “Fender Studio Pro delivers true analog warmth with a seamless workflow.”In this exclusive collaboration filmed at the legendary Power Station at BerkleeNYC, witness the creative process unfold as Nile Rodgers lays down his signature guitar work while Alissia crafts the perfect production. From initial concept to polished production, see how these two masters harness the full power of Fender Studio Pro’s comprehensive music creation tools.
Starting today, all existing PreSonus customers will continue to be served through the new MyFender platform effectively replacing MyPreSonus. This exciting new platform will not only serve software and hardware customers but the wider universe of Fender customers who purchase guitars, amps and effects.
In parallel, the PreSonus brand will continue to serve creators with industry-leading audio solutions like the acclaimed Eris® Monitors, StudioLive® Series III SE Mixers, Air XD Loudspeakers and more. As part of the FMIC family, PreSonus remains committed to its core mission of democratizing music creation and making professional-quality tools accessible to artists at every level. PreSonus customers will continue to receive full support and updates. Stay tuned for more exciting announcements to come in 2026.
FENDER STUDIO SOFTWARE
Fender Studio Pro 8 – Meet Fender Studio Pro, the next evolution of modern music creation. Effortlessly bring ideas to life with a fluid drag-and-drop workflow and a complete collection of inspiring virtual instruments, native plug-ins and authentic Fender Mustang Guitar and Rumble Bass amp models. Every tool is designed to enhance the creative process, helping artists capture ideas quickly, shape them with precision and transform them into professional-quality productions without breaking the flow of inspiration. See sessions with new clarity through Channel and Arrangement Overviews and explore legendary tone through Fender’s built-in amp and effects suite. The redesigned interface keeps production fast and intuitive, while AI-powered Audio-to-Note conversion transforms recordings into editable MIDI notes with a single click. Spark new ideas with Chord Assistant, program drums and chop samples using the updated Sample One and Impact samplers and add spacious dimension with the immersive Studio Verb plug-in. Bring a vision to life with video playback on the Show Page and capture inspiration anywhere through seamless Fender Studio integration (free desktop and mobile companion app). Fender Studio Pro delivers the tools, tones and technology that empower every artist to create without limits.
Pricing:
- Perpetual License ($199.99 USD, £169.99 GBP, €199.99 EUR, $349 AUD, ¥29,800 JPY)
- Pro+ Annual Subscription Plus Perpetual ($179.99 USD, £159.99 GBP, €179.99 EUR, $299 AUD, ¥26,800 JPY)
- Perpetual License Upgrade ($99.99 USD, £89.99 GBP, €99.99 EUR, $169 AUD, ¥14,800 JPY)
- Fender Studio Pro — Upgrade from 6-month Demo: Owners of Fender AudioBox Go, Quantum LT 2 and LT4 can upgrade the 6-month demo to a license for Pro+ Annual Subscription Plus Perpetual ($149.99 USD, £129.99 GBP, €149.99 EUR, $249 AUD, ¥22,350 JPY)
- Monthly Subscription ($19.99 USD, £19.99 GBP, €19.99 EUR, $34 AUD, ¥2,900 JPY)
Fender Studio 1.2 App Update – Available on iOS, Android, macOS, Windows and Linux, Fender Studio is a free tool available for anyone looking to record, practice or just have fun playing along with Jam Tracks. Compatible with audio interfaces on mobile, tablet and desktop devices, Fender Studio makes it easy for players to capture guitar riffs, vocals and more, with just one tap. Packed with powerful tones, Fender Studio is the only app of its kind with authentic Fender amp models. To help users progress on their journey into digital music production, Fender Studio 1.2 introduces a unique transmit feature that seamlessly sends Fender Studio sessions directly to Fender Studio Pro 8. The new Chord Track allows users to view and edit chords for the included Jam Tracks as well as add to their own sessions and even detect chords from the audio they recorded. Plus, a new Drum Metronome with over 75 grooves can be accessed after registering for free. Additionally, a new in-app purchase unlocks all Fender amps and FX in Fender Studio, alongside a higher track count of 32 tracks.
Pricing:
- Free to download
- Free registration unlocks more Jam Tracks, a higher track limit of 16, more amps and FX and the Drum Metronome
- All Fender amps, FX and a higher track count of 32 are available as an in-app purchase, or as part of an active Fender Studio Pro+ membership
Other software updates include Fender Studio Pro Remote, Fender Studio Hub, Fender Notion and Fender Universal Control.
FENDER STUDIO RECORDING HARDWARE
Fender Quantum LT ($149.99 – $499.99 USD, £129 – £469 GBP, €149 – €549 EUR, $239 – $899.99 AUD, ¥18,500 – ¥62,300 JPY) The Fender Quantum LT Series delivers professional recording results with effortless workflow, combining incredible sound quality, flexible connectivity and seamless integration with Fender Studio Pro in three streamlined, affordable interfaces. Each model includes custom low-latency drivers, MAX-HD microphone preamps with 75 dB of gain, Fender-optimized instrument inputs, balanced outputs, loopback routing and high-power headphone monitoring. Built-in integration with Fender Studio Pro and Universal Control ensures seamless hardware-software operation, allowing creators to fine-tune their direct mixes remotely for near-zero latency performance. Standalone Mixer Mode makes Fender Quantum LT versatile enough for live use, classrooms or portable rigs — while MyFender access simplifies registration, setup and support. For creators who need more, the Fender Quantum LT 16 expands the possibilities with 8 combo mic inputs and 8 additional TRS line inputs, MIDI I/O, DC-coupled outputs for synth and modular setups and an included Fender Studio Pro Perpetual license. With Mic Pre Mode, it even doubles as an 8-channel outboard mic preamp. Together with other key elements of the Fender hardware portfolio, such as Mustang amplifiers and Tone Master Pro, the Quantum LT Series completes a seamlessly connected ecosystem that moves effortlessly from studio to stage.
Fender Quantum HD ($599.99 – $1,099.99 USD, £489 – £889 GBP, €579 – €1,049 EUR, $999 – $1,899 AUD, ¥72,700 – ¥130,500 JPY) The Fender Quantum HD Series is engineered for creators who demand professional-quality recording with precision, power and flexibility. Each interface features high-definition MAX-HD preamps, ultra-low-latency drivers and 32-bit /192 kHz high-performance converters, capturing every nuance of instruments, vocals and full-band recordings with remarkable clarity. Fender instrument inputs ensure guitars and basses translate perfectly to the mix. Auto Gain simplifies setup, while re-amp outputs allow experimentation with amp and pedal setups. DSP monitor mixing and loopback routing streamline podcasting, streaming and tracking workflows. Control all critical functions from Fender Studio Pro or the Universal Control app, including preamp gain, phantom power and channel configuration — keeping focus on performance rather than setup. Fender Quantum HD scales with player’s studio needs: the HD 2 offers a 20 x 24 I/O setup ideal for project studios, while the HD 8 expands to 26 x 30 channels with ADAT expansion for large-scale recording.
Fender AudioBox Go™ ($99.99 USD, £79 GBP, €89 EUR, $159 AUD, ¥11,500 JPY) The Fender AudioBox Go is a compact, versatile 2x2 USB-C audio interface designed for musicians, podcasters and content creators who need professional-quality recording wherever inspiration strikes. With pristine 24-bit/96 kHz converters, a low-noise mic preamp and switchable +48V phantom power, the AudioBox Go captures vocals, instruments and line-level sources with clarity and accuracy. Featuring a dedicated instrument input for guitar or bass, a mic/line combo input for vocals or keyboards, two ¼-inch line outputs to connect to studio monitors and a ¼-inch headphone output, this interface provides everything needed to track and monitor recordings. Bus-powered and ultra-portable, it’s easy to take on the road or integrate into any desktop setup. Compatible with Fender Studio, Fender Studio Pro and most other audio apps, AudioBox Go is ready for recording, mixing and producing music or podcasts right out of the box.
Fender Motion™ ($269.99 – $349.99 USD, £279 – £369 GBP, €329 – €439 EUR, $499 – $599 AUD, ¥38,700 – ¥46,200 JPY) Fender Motion Controllers put Fender Studio Pro at players’ fingertips, giving instant access to timeline navigation, session controls and an Add button for instruments and effects—so players can record, edit and perform without leaving their instrument or breaking focus. Beyond Studio Pro, Motion’s dynamic FATAR® pads, vibrant illuminated encoders and expressive touch strips elevate any DAW workflow, letting creators improvise with intelligent scales, explore iconic chord progressions and shape sounds in real time. Available spring 2026.“You still have to pay for the actual gig”: Jack Osbourne says Back To The Beginning charities received around “£1.5m or £2m” each, despite media estimates being much higher
![[L-R] Tony Iommi and Ozzy Osbourne of Black Sabbath](https://guitar.com/wp-content/uploads/2025/02/Ozzy-Tony@2000x1500.jpg)
After the final Black Sabbath gig in early July last year, extremely high estimates of how much the mighty celebration of metal had earned its chosen charities were reported across the media.
Ozzy Osbourne’s son Jack has since spoken out about these figures, and has said that each of the three charities selected by the band received around £1.5–2 million, with the rough total coming in at around £6–7 million.
The gig was held at Villa Park in Black Sabbath’s home city of Birmingham, UK. It raised money for Cure Parkinson’s, the Birmingham Children’s Hospital and Acorn Children’s Hospice. The show featured solo music from Ozzy as well as a performance from the original lineup of Black Sabbath, and a mighty roster of other rock and metal greats. Ozzy sadly passed away just a few weeks after the event.
Across the media, estimate figures of the gig’s earnings for charity were as high as $190 million. Sharon Osbourne also shut down these claims, and similarly to Jack, provided a rough total of around $11 million (about £8 million): a brilliant total that will have a real impact, nonetheless.
Speaking on the Punk Rock Sober podcast, Jack says, “This is how you know the news is probably 90 percent bullshit, ‘cause it was, like, CNN and New York Times was saying ‘Ozzy raised $150 million.’ And it wasn’t that. I think what it came down to was, like, when all was said and done, because it was a charity gig, you still have to pay for the actual gig. No bands got paid, and most of the crew donated their time.”
He adds, “But I think when all said [was] and done, each charity got, like, one and a half or two million pounds [approximately $2.7 million] each. So, it was, I think, six or seven million pounds [approximately $9.4 million]. That’s what was donated to the three charities. I mean, we would’ve loved it if it was hundreds of millions. We would have been, like, ‘Fuck yeah.’”
You can watch the full interview with Jack below:
The post “You still have to pay for the actual gig”: Jack Osbourne says Back To The Beginning charities received around “£1.5m or £2m” each, despite media estimates being much higher appeared first on Guitar.com | All Things Guitar.
Gibson uses 3D scanning and period correct materials to create an “exact replica” of Keith Richards’ prized 1960 ES-355
Gibson has revealed a new partnership with Keith Richards, unveiling two new super-limited Collector’s Edition ES-355s based on the Rolling Stones man’s own treasured 1960 ES-355.
150 guitars are available as part of the launch – 50 signed both on the instrument and label, and 100 with only a signed label. Developed in close collaboration with Richards, these guitars expectedly don’t come cheap, with the former priced at $19,999, and the latter at $29,999.
Keith first used an ES-355 in 1969, both on the road and in the studio, namely during the recording sessions for Sticky Fingers and Exile on Main St. His black 1960 model, meticulously recreated for this launch, has accompanied him on every Rolling Stones tour since 1997.
According to the Gibson Gazette, the guitars have been handcrafted in the Gibson Custom Shop in Nashville, Tennessee, and are “exact replicas”. Its details were recreated using advanced 3D scanning, period-correct materials and construction techniques, with Murphy Lab hand-aging completing the guitars.
Both feature a multi-ply bound body made from three-ply maple/poplar/maple, with red spruce bracing and a maple centreblock for enhanced sustain and reduced feedback, weight-relieved at Richards’ request. Each has a mahogany neck with a custom Keith Richards profile, while premium hardware includes a Bigsby B7 vibrato tailpiece and Grover Rotomatic tuners with Milk Bottle buttons.
Each hosts a pair of unpotted Custombucker pickups with Alnico 5 magnets, wired to CTS 500k audio taper pots and paper-in-oil capacitors. These guitars ship in a Gibson Protector series case with a certificate of authenticity and a replica of the strap that Richards uses.
Check out the launch video below, featuring producer Andrew Watt, who worked with the Stones on their most recent album, Hackney Diamonds.
“This is my standard tuning six-string,” Richards tells Watt. “This is the other side of my thing. My six-string stuff has always been, you know, a great Gibson – that’s where I feel the most comfortable. And also with the sound. Put it through just about any amp, and it will sound the way you want it, because this has so much more room for expression.”
Find out more about the Keith Richards 1960 ES-355 Collector’s Edition at Gibson.
Credit: Gibson
The post Gibson uses 3D scanning and period correct materials to create an “exact replica” of Keith Richards’ prized 1960 ES-355 appeared first on Guitar.com | All Things Guitar.
Gibson Custom and Keith Richards Unite for Historic Collaboration
Gibson is proud to announce its partnership with Keith Richards—one of the most influential musicians in history and co-founder of the legendary Rolling Stones. This collaboration introduces two extraordinary instruments: the Keith Richards 1960 ES-355 Collector’s Edition, Signed Guitar and Label, and the Keith Richards 1960 ES-355, Signed Label—both handcrafted by Gibson Custom in Nashville, Tennessee, and strictly limited. Developed in close collaboration with Richards himself, these guitars represent a rare opportunity for fans and collectors alike to own a signed replica of one of Keith’s best-loved and most recognizable guitars.
Only 50 of the Keith Richards 1960 ES-355 Collector’s Edition, Signed Guitar and Label have been produced and will be available exclusively worldwide on Gibson.com and at the Gibson Garage in Nashville and London. These guitars have been signed both on the f-hole label by Keith Richards and on the back of the headstock. Additionally, 100 of the Keith Richards 1960 ES-355, Signed Label—signed by Keith Richards on the f-hole label only—will be available at Gibson Garage locations, authorized Gibson Custom dealers, and globally on Gibson.com.
For more than six decades, the “Human Riff” has been the heartbeat of The Rolling Stones, inspiring millions of fans and musicians the world over to get out of their seats and rock ’n’ roll. It’s difficult to imagine the landscape of popular music without the monolithic presence of Keith Richards looming over it with impossible cool, godlike nonchalance, and, of course, impeccable taste in guitars. Ask any guitarist which of Keith’s instruments they desire the most, and we’re willing to bet his black 1960 Gibson ES-355 will top the list. Keith first used an ES-355 back in 1969, taking it out on the road and into the studio during the legendary recording sessions for Sticky Fingers and Exile on Main St. His black 1960 model has been a staple of every planet-straddling Rolling Stones tour since 1997.
Gibson Custom now proudly introduces two meticulous recreations of the ES-355 that Keith made famous. Handcrafted in the Gibson Custom Shop in Nashville, Tennessee, these models aren’t just a tribute; they are exact replicas, crafted using advanced 3D scanning, period-correct materials and construction techniques, with Murphy Lab hand-aging to mirror every detail of the original, including its distinctive tone.
“This is my standard-tuning six-string; this is the other side of my thing,” Keith Richards explains, “My six-string stuff has always been, you know, a great Gibson—that’s where I feel the most comfortable. And also with the sound. Put it through just about any amp, and it will sound the way you want it, because this has so much more room for expression.”
Both remarkable instruments from Gibson Custom feature a multi-ply bound body made from three-ply maple/poplar/maple, with red spruce bracing and a maple centerblock for enhanced sustain and reduced feedback, weight-relieved at Keith’s request for greater comfort. The mahogany neck sports a custom Keith Richards profile derived from 3D scans of the original, measuring approximately .801” at the first fret, .905” at the 12th, and 1.625” at the nut. The bound ebony fingerboard includes mother-of-pearl block inlays and Medium Wide fretwire, just like Keith’s original guitar.
Premium hardware consists of a Bigsby® B7 vibrato tailpiece and Grover® Rotomatic® tuners with Milk Bottle buttons, while every metal part, plastic component, and the Ebony nitrocellulose finish has been hand-aged by Murphy Lab artisans to replicate decades of wear. A pair of unpotted Custombucker pickups with Alnico 5 magnets developed especially for this model are wired to CTS® 500k audio taper pots and paper-in-oil capacitors, delivering the unmistakable sound of the original.
Each guitar ships in a Gibson Protector series case with a certificate of authenticity and a replica of the strap Keith Richards uses. This is your chance to own a piece of music history. The Gibson Custom Keith Richards 1960 ES-355 Collector’s Edition, Signed Guitar and Label is limited to just 50 units available via Gibson.com and Gibson Garage locations in Nashville and London. The Gibson Custom Keith Richards 1960 ES-355 Collector’s Edition, Signed Label is limited to 100 units and available via authorized Gibson Custom dealers, Gibson.com, and Gibson Garage locations.
Keith Richards is one of popular music’s most iconic figures. Best known as the guitarist, songwriter, and co-founder of The Rolling Stones, Richards was born in Dartford, England, in 1943. Since the early 1960s, he has helped to define the sound and attitude of modern rock music with his raw guitar riffs, R&B and blues-driven style, and rebellious persona. Alongside Mick Jagger, Richards co-wrote many of the biggest and best-loved hits in rock history, including such classics as “(I Can’t Get No) Satisfaction,” “Jumpin’ Jack Flash,” “Gimme Shelter,” and “Start Me Up.” His distinctive guitar work, often built around open tunings, gave The Rolling Stones their unmistakable edge and signature sound, influencing countless musicians. Richards has remained a creative force and a symbol of rock ’n’ roll’s defiant spirit.
Beyond his music, Richards has become a cultural legend, embodying the archetype of the rock star who seems to defy time. He was inducted into the Rock and Roll Hall of Fame in 1989 and continues to perform with The Rolling Stones well into his eighties. His memoir Life (2010) offered candid insights into his artistry, friendships, and notorious lifestyle, cementing his reputation as both a survivor and storyteller. Married to model Patti Hansen since 1983, Richards is a father and grandfather, balancing family life with his career. Today, he stands not only as a musician but as the “Human Riff,” a living testament to rock’s resilience and swagger.
Seymour Duncan Announces the Slash 3.0 Pickup Set
Seymour Duncan, a leading manufacturer of guitar and bass pickups, effects pedals, and pedal amps, is proud to announce that the Slash 3.0 Pickup Set is now available to order from seymourduncan.com and from authorized Seymour Duncan dealers.
Slash 3.0 Pickup Set
A new addition to Slash’s signature sound arsenal, 3.0 adds more punch and aggression while retaining clarity. Built with rough cast Alnico 5 magnets and vintage-inspired construction, it’s a powerful new option for players seeking extra cut without compromise.
- Slash's most aggressive signature humbucker yet, featuring Alnico 5 magnets
- Enhanced output and tighter lows without sacrificing legendary clarity and transparency
- Developed for Slash's SG® and now deployed across multiple guitars in his touring rig
- Available in multiple configurations: single or four-conductor wiring, standard or Trembucker spacing, long and short-leg options
- Hand-built in Santa Barbara, CA
Set MAP pricing starting at $258.00
Single Pickup MAP pricing starting at $129.00
For nearly four decades, Slash has relied on Seymour Duncan pickups to shape the unmistakable sound that defined a generation. From the original Slash model that recreated the legendary Appetite for Destruction tones, to the hotter Slash 2.0 set designed for stadium-sized live performances, Slash’s signature humbuckers have become iconic in their own right. Now, we bring you the Slash 3.0: born from Slash’s need for even more punch and bite while staying true to his tone.
The Slash 3.0 was first conceived at his request for Guns N’ Roses’ performance at the Back to the Beginning tribute to Ozzy Osbourne and Black Sabbath. Slash needed extra output for his SG® without sacrificing the precision and authenticity he demands from his tone. With the inclusion of Alnico 5 magnets, this new 3.0 design delivers tighter lows, more immediate attack, and added output, while keeping the same transparent character and unmistakable Slash feel. In addition to his SG®, Slash is using 3.0 live in other guitars that benefit from additional output.“The new 3.0 is basically just one more step up,” Slash explains. “You have more output, but still that same clarity and honesty of the sound of the guitar. I've got the best of all worlds now because I have my original Slash pickups that I've been using on most of my guitars forever. But now I have the options of having the 2.0 and the 3.0 for different guitars and different situations where it calls for a bit more kick-ass.”
Hand-built in Santa Barbara with vintage-inspired construction (rough cast Alnico 5 magnets, wood spacers, and traditional appointments) the Slash 3.0 set is vacuum wax-potted and available in multiple configurations: single- or four-conductor wiring, standard or Trembucker spacing, and both long- and short-leg options for modern and vintage guitars alike. Whether you’re outfitting a Les Paul®, an SG®, or a stage-ready superstrat, the Slash 3.0 gives you the choice to add just the right amount of bite without ever losing the soul of your tone.
Les Paul® and SG ® are registered trademarks of Gibson.
PreSonus Studio One is now Fender Studio Pro, as Fender launches its own fully-fledged DAW environment
Following last year’s launch of Fender Studio – a GarageBand-style, beginner-friendly DAW app for recording and jamming – Fender is taking things to the next level.
Now, Studio One Pro, the renowned DAW software from PreSonus – which Fender bought in 2021 – is transitioning into Fender Studio Pro, bringing a number of updates to visual design and UI, new amps and effects, faster mixing workflows and loads more.
But Fender isn’t stopping there; PreSonus’s Quantum and AudioBox interface lines are also moving under the Fender name, and will now be the Fender Quantum Series and Fender AudioBox.
In addition to an updated UI, new amps and effects – 57 guitar and bass amp models via Mustang and Rumble Native plugins – and faster workflows, the reimagined Fender Studio Pro environment also introduces upgraded samplers, as well as AI-powered audio-to-note conversion.
Credit: Fender
“For more than a decade, Studio One Pro has set the standard for modern music production,” says Max Gutnik, Chief Product Officer, FMIC.
“Its balance of power, creativity and ease of use has inspired countless artists and shaped how music is made today.
“With Fender Studio Pro, we are taking those celebrated features and enhancing them with a modernised interface, Fender’s award-winning amp and effects models and new intuitive workflows and capabilities that make creating music faster, more inspiring and more connected than ever.”
Fender says it “remains dedicated to inspiring generations of artists and creators”, and that the new Fender Studio brand – which brings PreSonus’s Studio One and Quantum and AudioBox interfaces under its umbrella – is the “next evolution of that vision, where tradition and innovation meet in the service of creativity”.
To showcase the potential of Fender Studio Pro, Fender has tapped Nile Rodgers and Grammy-nominated producer Alissia Benveniste for a demo video. Check it out below:
“Having authentic Fender amps and pedals built straight into the DAW is a game-changer,” says Benveniste. “Fender Studio Pro delivers true analog warmth with a seamless workflow.”
Also worth noting, MyPreSonus – the platform through which you manage and access your PreSonus gear and software – is being replaced by the new MyFender platform. This platform will also serve the wider base of Fender customers who purchase guitars, amps and effects.
While Studio One Pro is becoming Fender Studio Pro, and the Quantum and AudioBox lines are moving under the Fender name, PreSonus will continue to serve customers with pro audio products including its Eris Monitors, StudioLive Series III SE Mixers, Air XD Loudspeakers and more.
In terms of pricing, a perpetual license for Fender Studio Pro comes in at $199.99/£169.99, while a monthly subscription is available at $19.99/$19.99 per month. A number of upgrade options are also available for existing users.
Alongside the launch of Fender Studio Pro, the company has also issued an update for its Fender Studio app, introducing a new transmit feature which seamlessly sends sessions to Fender Studio Pro, as well as new Chord Track, and Drum Metronome features.
To learn more about Fender Studio Pro, head to Fender.
Credit: Fender
Elsewhere in the Fender world, it was announced last week that CEO Andy Mooney would be stepping down, with the current President of the company’s Asia Pacific division Edward “Bud” Cole assuming the role of CEO from February 16.
“Leading Fender has been a highlight of my career,” says Mooney. “I’m deeply grateful for the creativity and commitment of the Fender teams around the world and proud of what we’ve accomplished. I’m excited to pass the baton on to Bud and confident that under his leadership, Fender will continue to inspire players for generations to come.”
During his tenure as President of Fender Asia Pacific, Edward “Bud” Cole has spearheaded the opening of Fender’s flagship Tokyo store, overseen the expansion of the brand into 14 countries across the region including mainland China and Korea, and played a pivotal role in numerous Made-in-Japan launches, like the widely publicised Godzilla Stratocasters back in October.
The post PreSonus Studio One is now Fender Studio Pro, as Fender launches its own fully-fledged DAW environment appeared first on Guitar.com | All Things Guitar.
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