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
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Walrus Audio Highpoint Review
For some players, compression, and compression pedals, are exciting at a level just above a tuner or volume pedal—essential in some cases, but not the kind of thing that gets the blood pumping. For others, compression is an essential facet of their sound, perhaps even the core of it. For these players, the differences between compressors are meaningful and consequential, and separate a true creative device from a joyless, utilitarian tool. Walrus Audio’s Highpoint is more likely to appeal to players who see the painterly possibilities in a compressor. As an optical comp, it offers the smooth, fuzzy, non-linear glow that makes a good opto sound less sterile and bossy than a voltage controlled or FET compressor. It also has a control set that can get surgical. The $349 price reflects the pedal’s power and flexibility, and signals that this isn’t one for compression casuals. But while committed comp nuts might find the most to love here, less experienced users might be very surprised and impressed by what an asset the Highpoint can be.
Light and Sound Sensations
Advanced students of the compression arts can skip ahead here, but for those among you who are new to optical compression, a brief primer: In an optical compressor, changes in gain are communicated through the circuit via a light source and a photoresistor that reads that source’s energy. Photoresistors (which effectively define a compressor’s release characteristics) possess an inherent signal-processing lag—not enough to constitute a pronounced delay, but enough to color the edges of output with a warmish aura and, at the right settings, lend extra dimensionality that other compressors can rob from the signal. (Another famous effect, the Uni-Vibe, also uses an opto-circuit to achieve its warm, round, and chewy qualities.)
As you scan the range of the Highpoint’s seven controls, you have to work to bury the basic warmth in its compression. The Highpoint is a toasty glow additive, even at compression levels that you’d categorize as super squished. I love the effect of super-compressed guitars in certain arrangements and mixing situations, and use compression as a transformative tool as often as I use it as subtle tone sweetener. So, my standards for what constitutes tone suck may differ from those of a hardcore tone naturalist. Still, I found that the Highpoint obliterates a guitar’s voice at only the wettest, lowest-threshold positions. At just about every other combination of controls you tend to hear your guitar’s tone, and the characteristics of upstream effects, loud and clear.
Quality Control
The Highpoint’s knack for keeping an instrument’s essence intact makes using its very interactive, rangeful, sensitive controls extra satisfying. The wet/dry control opens up the possibility of using dramatically compressed tones as subtle shading. But all-wet settings can still generate a wide range of coloration, and shaping those colors in specific ways feels fast and intuitive—a sense enhanced by the smooth, gentle taper of the knobs themselves. This makes the Highpoint very forgiving. I never got the sense that I would get lost—or be unable to get back to where I started—if I wanted to make radical adjustments in the heat of a performance. But this intuitiveness pays double the dividends when crafting song arrangements and mixes. Easing a specific tone and dynamic profile back from an extreme place to a mellower one in small increments always felt effortless, and that means you can close the gap between a sound you imagine and the one you hear with confidence.
The Verdict
Compression is often regarded as an effect that diminishes the sense of touch. But the Walrus Highpoint seems designed to prioritize feel—not just in the way it can seamlessly span subtle and super-compressed tones, but in how easy it is to explore the realms between those extremes. It’s versatile and multi-dimensional, and it’s also fun—an adjective that even devout compressor users would be reluctant to use to describe their favorite comp.
Highpoint Optical Compressor
Optical Compressor Guitar Pedal with Threshold, Ratio, Attack, Release, Output, Blend, Makeup, Sidechain, and VU Controls
NOW LIVE: 15 New Deals From Sweetwater's Biggest Guitar Sale Of The Year
From an 8-string Strandberg to a synth-equipped Boss EURUS, Sweetwater's Guitar Month sale covers axes, amps, and pedals at prices that won't stick around.
Guild Surfliner Solidbody Electric Guitar - White Sage
A wallet-friendly offset for the masses! Guild’s Surfliner takes the sleek '60s style of a traditional offset guitar and hot rods it with performance-minded features for guitarists who require an instrument with rock-solid stability. The Surfliner’s lightweight poplar body and offset-waist body shape provide an unmatched comfort — both sitting and standing. The smooth maple-on-maple neck’s Narrow Jumbo frets and 10-inch radius ensure smooth playability for players of all stripes. What about versatility? The Surfliner has it in spades, boasting an HSS configuration comprised of two Aersonic single coils and an LB-1 mini humbucker in the bridge, taking you everywhere from surfy drip to all-out crunch. Finally, the string-through body and the Tune-o-matic bridge are ideal for players who love the offset look, but prefer a more streamlined hardware setup.
Sweetwater's Guitar Month sale runs deep across the catalog, and what's below is just a sampling of the deals worth a look. We've got guitars spanning entry-level to high-end, amps built for both bedroom and stage volume, a handful of pedals, and a few accessories thrown in for good measure. Savings range from a few dollars off to over a grand, with some finishes and models exclusive to Sweetwater. Browse what caught our eye below, then head to Sweetwater to see the rest of what's on sale this month.
Kala Solidbody U-Bass Electric Bass Guitar - Surf Blue
This compact 4-string electric U-Bass features a 23.5-inch short scale, Okoume body, and a passive split-coil pickup for a warm, punchy, articulate bass tone in a lightweight, easy-to-play package.
Boss EURUS GS-1 Electronic Guitar with Onboard Guitar Synthesizer - Black
The EURUS GS-1 packs a pair of custom EURUS-CTM humbuckers plus an onboard polyphonic synthesizer with six recallable presets and separate guitar/synth outputs, so you can dial in synth tones with the flip of a switch — no extra pedals or special pickups required.
J. Rockett Audio Designs Lenny Boost/Overdrive Pedal
Built to capture the sound of a dimed boutique amp, Lenny's simple 2-knob layout adds musical mid-forward boost and sustain to a clean tone, or pushes an already-overdriven signal into a tight, singing “superdrive.”
D'Angelico Deluxe Atlantic Electric Guitar - Solid Black
This single-cut solidbody pairs an alder body and maple/walnut neck with Seymour Duncan Seth Lover A4 humbuckers and push-pull coil-splitting, delivering classic D'Angelico style with modern tonal versatility and all-day playing comfort.
Blackstar St. James 50-watt Tube Head with EL34 Tubes - Fawn
Blackstar's lightest 50-watt head yet pairs EL34 power tubes with onboard Cab Rig cabinet simulation and a 3-step power reduction switch, giving two full channels of glassy cleans through vintage crunch at stage or bedroom volume.
Supro Amulet 1x12 15-watt Tube Combo Amp - Baby Blue, Sweetwater Exclusive
Exclusive to Sweetwater in a Baby Blue finish, the Amulet delivers 15 watts of vintage-style Supro overdrive through a Celestion G12M Creamback, with a 3-step power attenuator plus splashy spring reverb and tremolo baked in.
Strandberg Boden Original N2.8 8-string Electric Guitar - Black Denim Burst Satin
A multi-scale 8-string built from swamp ash, walnut, and roasted/flame maple, featuring Strandberg's EndurNeck profile, EGS Arc hardware, and POWR:D by Fishman active pickups with selectable voicing from passive-style headroom to modern-metal aggression.
Caparison Guitars Horus-M3 - Carnelian with Ebony Fingerboard
A mahogany/maple solidbody with a 5-piece maple/walnut neck and ebony fretboard, the Horus-M3's precise 15-degree headstock angle eliminates string trees while its fast, smooth 27-fret neck stands up to the most demanding technical playing.
Sterling By Music Man Cutlass CT50HSS Electric Guitar - Daphne Blue Satin
A poplar body and roasted maple neck deliver a bright, resonant, well-balanced tone, while the H/S/S pickup configuration and 5-way blade switch offer plenty of tonal range for the price.
ESP LTD EC-1000 Electric Guitar - Vintage Black (Dent and Scratch)
A mahogany-bodied, set-neck Eclipse-style guitar with an ebony fingerboard and EMG humbuckers for articulate tone from chiming cleans to growling high-gain — this blemished dent-and-scratch unit is deeply discounted off the $1,099 list.
DigiTech Whammy 5 Pitch-shifting Pedal - White, Sweetwater Exclusive
A polyphonic pitch-shifting pedal with an expression treadle and MIDI input, in a limited white finish exclusive to Sweetwater that won't be restocked once it sells out.
Warm Audio Foxy Tone Box Fuzz Pedal - Werewolf Black, Sweetwater Exclusive
Hand-assembled with premium NOS parts for vintage-correct tone, this limited-edition octave fuzz pedal recreates a beloved '70s circuit with volume, sustain, and fuzz controls plus a switchable octave-up mode.
Breedlove Artisan Concert E Adirondack/Rosewood Acoustic-electric Guitar - Edgeburst
A concert-body acoustic-electric with a redwood top over rosewood back and sides, mahogany neck, and ebony fingerboard — premium tonewoods built for detailed, balanced amplified performance.
Ernie Ball 3221 Regular Slinky Nickel Wound Electric Guitar Strings - .010-.046 Factory 3-pack
Nickel-plated steel wire wrapped around a tin-plated hex core for balanced tone across highs, mids, and lows — the industry-standard Regular Slinky gauge (.010-.046) in a factory-sealed 3-pack.
Pedaltrain Classic Jr Pedalboard with Slim Line Hard Case
The Classic JR's wider stance and extra inch of elevation fit just about any power supply, built on Pedaltrain's featherweight aircraft-grade aluminum rails, now bundled with a low-profile hard case for the road.
Mojotone Solderless Tele Standard Guitar Wiring Harness
A drop-in, solder-free wiring harness with CTS potentiometers, a Dijon capacitor, and treble-bleed circuit — swap out your stock electronics in minutes without a soldering iron.
GrooveTech Guitar Player Tech Kit
A compact guitar setup kit with hex keys, a 6-in-1 screwdriver, thickness gauge, ruler, string cutters, capo, and an easy setup guide — everything needed to adjust action, intonation, and truss rod without paying a tech.
Keeley Electronics Introduces Tube Drive Twin Triode Dual Overdrive
Keeley Electronics has introduced the Tube Drive Twin Triode Dual Overdrive, a powerful dual-drive pedal built around a real high-voltage tube circuit and one of Keeley’s most celebrated overdrive voices. The standard Tube Drive features a Russian 12AX7 tube at the heart of its tube-driven preamp side, delivering warm, touch-sensitive grit, natural compression, and the unmistakable feel of real glass in the signal path.
The second side of the pedal is based on the legendary Keeley Super Phat Mod, adding thick, amp-like overdrive with punch, sustain, and harmonic depth. Players can use either side independently, stack them together for bigger gain tones, or switch the effect order on the fly with a simple foot gesture. From responsive tube breakup to saturated stacked drive, the Tube Drive is designed to cover a wide range of gain sounds while keeping the feel immediate and musical.
Built from start to finish at Keeley Electronics in Oklahoma City, the Tube Drive also includes selectable true-bypass or Keeley silent buffered switching, rugged construction, and a custom tube shield that proudly displays the tube at the center of the design. With real tube warmth and modern pedalboard flexibility, the Tube Drive Twin Triode Dual Overdrive is designed to be the heart of your gain section.
Like every Keeley pedal, the Tube Drive is designed and manufactured in Oklahoma, USA. Key features include:
● Real high-voltage tube-driven preamp side with Russian 12AX7 tube
● Keeley Super Phat Mod overdrive side for thick, amp-like drive
● Two independent overdrive voices in one rugged enclosure
● Stack both sides together for richer, higher-gain tones; Switch effect order on the fly with a simple foot gesture
● Selectable true-bypass or Keeley silent buffered switching
● Warm, touch-sensitive grit with natural tube compression, offering everything from low-gain breakup to saturated stacked overdrive
● Made in USA
Keeley’s Tube Drive Twin Triode Dual Overdrive carries a $399 street price. For more information visit robertkeeley.com.
Tube Drive
Dual Overdrive Guitar Pedal, with Per-channel Level, Tone, and Gain Controls, FX Order Switching, 12AX7 Vacuum Tube, TRS Remote Jack, and True/Buffered Bypass - Black
Real Tube Tone with Dual Overdrive Personalities
John Bohlinger headed west to visit Robert Keeley who shows off an impressive dual drive that includes the company's heralded Super Phat Mod circuit paired with high-voltage drive that rocks with a Russian 12AX7 preamp tube. As Keeley explains to Bohlinger, there's a lot going on under the hood including a function that allows you to reverse the stacking order that gives the growl a whole new gnashing character.
Tube Drive
Dual Overdrive Guitar Pedal, with Per-channel Level, Tone, and Gain Controls, FX Order Switching, 12AX7 Vacuum Tube, TRS Remote Jack, and True/Buffered Bypass - Black
HeadRush Introduces FRFR CAB Series of Amps
HeadRush has introduced its FRFR CAB Series, a new line of full-range, flat-response guitar amp cabinets purpose-built for players who build their sound around modeling pedals. With a traditional amp-style cabinet format and Bluetooth® connectivity, they’re ideal for practice, rehearsal and live performance.
Available in two sizes, the compact FRFR-8 CAB and the higher-output FRFR-12 CAB offers guitarists and bassists a cabinet that faithfully amplifies the tones they've already dialed in.
For players who have moved their sound into modeling pedals, amp profiles, 3rd party IRs, Neural Amp Modeler, and other capture technology, finding an amplification solution that reproduces tone accurately, without recoloring it, is essential. The HeadRush FRFR CAB Series delivers HeadRush’s custom-tuned full-range, flat-response performance within a traditional guitar cabinet. The series includes the compact 8-inch FRFR-8 CAB, offering up to 480 watts of peak power, and the larger 12-inch FRFR-12 CAB, delivering up to 750 watts for higher-output stage settings.
Both cabinets pair a custom-designed low-frequency woofer with a 1-inch high-frequency compression driver and a wide 90° conical horn, delivering clear, even coverage that lets modeled tones translate accurately in any room. A legendary 3-band Baxandall EQ with a variable high-cut filter makes it fast to dial in the cabinet for a new rehearsal space, stage, or studio, without ever having to rebuild the tone built inside the modeling pedal.
Connectivity is straightforward: a combo XLR/TRS line-level input connects to virtually any modeling pedal, profiler, or digital guitar processor, while an XLR line output feeds a clean signal to the PA system or links multiple cabinets. Combine two FRFR CABs for stereo rigs built from the stereo outputs of a modeling pedal. Built-in Bluetooth® 5.3 rounds out the package, letting players stream backing tracks, rehearse with band mixes, and learn new songs directly through the cabinet.
“Guitarists and bassists building their sound in a modeling pedal deserve a cabinet that gets out of the way and lets that tone come through, on stage, in the studio, wherever they play,” said John Boudreau, HeadRush Director of Product Development. “The FRFR CAB Series pairs that accuracy with the feel of a real amp cabinet, so the rig sounds and feels like home no matter where you're plugging in.”
A Cabinet for Every Rig
The FRFR-8 CAB is built for home players, recording setups, rehearsals, and smaller venues where portability matters but true feel still counts. At 14.3" x 14.1" x 8.5", it's an easy companion for any modeling rig. The FRFR-12 CAB steps up to 18.4" x 19.1" x 9.6", delivering the output and stage presence musicians need for louder performance environments. Both cabinets are housed in a rugged, closed-back wooden cabinet with a built-in kickstand for an optimal monitoring angle onstage.
A Cabinet for Every Rig
Key Features Include
- Purpose-Built for Modeling Pedals: Full-range, flat-response amplification preserves modeled tones with accuracy, without the coloration of a traditional guitar amp
- Traditional Amp Aesthetics: Classic amp-style cabinet design delivers a familiar look and stage presence
- Two Configurations: Available in the compact FRFR-8 CAB and higher-output FRFR-12 CAB
- Custom Drivers: A custom-designed woofer and 1" compression driver provide clear, balanced sound reproduction
- Wide Coverage: A 90° conical horn helps distribute sound evenly across the room
- Legendary 3-Band Baxandall EQ: Variable high-cut filter adapts the cabinet to any room, stage, or studio
- Flexible Connectivity: XLR/TRS combo input connects easily to modeling pedals and processors; XLR line output simplifies PA integration and cabinet linking
- Bluetooth® for Musicians: Built-in Bluetooth® 5.3 audio supports practice, rehearsal, and playback
- Built-In Kickstand: Provides an improved personal monitoring angle onstage
- Road-Ready Construction: Rugged, closed-back wooden cabinet built for regular transport and performance
The HeadRush FRFR-8 CAB is priced at $399 and the FRFR-12 CAB is priced at $499. To learn more, visit www.headrushfx.com.
He Fixed Randy Rhoads’ Guitar. Then Eddie Van Halen Called.
You might not know his name, but you know Jim DeCola's work. The longtime luthier and influential industry staple sits down with John Bohlinger to discuss his repairman beginings (including an impactful fix for Randy Rhoads), to designing the Peavey EVH Wolfgang for Eddie Van Halen, and his lengthy career that includes both guitar giants -- Fender and Gibson. Plus, DeCola shares how his first love of skateboarding is a parallel to guitar building and explains why dropping into half pipes and empty pools fill his heart as much as working on guitars and play music.
The Power Of 3 Announce Self-Titled Debut Album Due December 11
The Power of 3, the powerhouse new trio featuring acclaimed singer-guitarist Orianthi, drummer Cindy Blackman Santana, and bassist Rhonda Smith, announce their self-titled debut album today along with the release of their debut double single, “War In The Streets” b/w “Treat Me Like A Lady,” available now on all streaming platforms. The album is due out December 11th via She2Music, was produced by legendary producer Eddie Kramer (Jimi Hendrix, David Bowie, KISS, The Rolling Stones), and features a special guest appearance from Carlos Santana. Recorded entirely in analog, the album captures the raw chemistry of three world-class musicians whose collective careers have included collaborations with Michael Jackson, Prince, Jeff Beck, Alice Cooper, Beyoncé, Lenny Kravitz, Santana, and Pharoah Sanders.
Lead single “War In the Streets” is one of The Power of 3's defining statements. It’s a rousing rallying cry for unity in a time of unrest and division. Driven by a churning rock groove and a searing Orianthi guitar solo, the track reflects the chaos of the current moment while calling for people to come together. The chorus was penned by Mark Davis, owner of the Las Vegas Raiders and a longtime supporter of the band, and The Power of 3 wrote the verses and music before the song took shape in the studio with Kramer.
The double single also features “Treat Me Like A Lady,” a groove-heavy, feel-good track propelled by Rhonda Smith's bouncing Motown-inspired bass line. Sensual, playful, and empowering, the song showcases the band's soulful side while maintaining the confidence and firepower of three musicians at the top of their game.
The roots of The Power of 3 stretch back several years, when Raiders owner Mark Davis encouraged Orianthi to assemble a Band of Gypsys-inspired power trio. Orianthi turned to Cindy Blackman Santana, renowned for her work with Carlos Santana, Lenny Kravitz, and Pharoah Sanders, and together they recruited Rhonda Smith, whose legendary career includes performances with Prince, Jeff Beck, Beyoncé, and who currently plays with The Cletones, the house band for Jimmy Kimmel Live!
The trio has already performed twice at Allegiant Stadium in Las Vegas, most recently before the Raiders-Cowboys game last November, and is now preparing to bring the project to audiences around the world.
“I know people all over the world want to see us,” said Orianthi. “And we can't wait. It'll be so much fun to get out there. Playing together with Cindy and Rhonda, this is like a powerhouse. It's not just me... this is a real band.”
The Power of 3 is out December 11th; preorder/presave HERE.
Tom Morello - Everyone Gets Everything They Want
Legendary musician, guitarist and songwriter Tom Morello has unveiled his latest full-length project, and first solo rock album, *Everyone Gets Everything They Want*, arriving September 25th via Mom + Pop Music. Further cementing his reputation for fusing high-octane rock with unwavering activism, the new collection confronts issues of fascism, immigrant rights, and global political turmoil. The record is anchored by Morello’s revolutionary fretwork, blending thunderous riffs, otherworldly solos, and an uncompromising lyrical vision. Production credits include Tyler Smyth, Carl Restivo, Zakk Cervini, Dan Carey, and Sam Nelson Harris.
Everyone Gets Everything They Want
The music spans a diverse array of styles and collaborators, reflecting decades of experience as a songwriter and performer. Serj Tankian, Kneecap and Beartooth all make appearances, and Morello’s fifteen year old guitar wiz son Roman, who has been startling audiences on tour with his dad the past three years, shares writing credits on five songs, contributing monster riffs and fiery solos.
Morello has released two songs so far from the album- the most recent being “Date Night”. The song tells the true story of three young Dutch girls who served as spies, saboteurs, and assassins against the Nazis during World War II. Sisters Truus and Freddie Oversteegen and their close friend Hannie Schaft used their youth and innocent appearances to slip through checkpoints, to smuggle weapons, to sabotage rail lines, and to help hunted Jewish children escape persecution. Most famously, they acted as underground assassins, seducing Nazi officers, luring them into the woods and killing them. Hannie was eventually captured, tortured, and killed by the Nazis, but she never snitched on her comrades.
Morello says, “I make anti-racist songs for anti-racists. I make anti-fascist songs for anti-fascists. And I make anti-Nazi songs for anti-Nazis. ‘Date Night’ is really a ‘which side are you on?’ song. If any of that offends you, do the math. Oh, and Roman Morello wrote the killer riff in this tune.”
Morello previously released the song “Adjourn It”. The track features Serj Tankian as well as Roman, and condemns the rising tide of racism and anti-immigrant bigotry. For the song’s video, clips from the film SALT OF THE EARTH (1954), are woven throughout the “Adjourn It” video to reflect the song’s theme of resistance in the face of prejudice and injustice.
Morello has a long history of organizing activism-oriented concerts, rallies, and events, and continues to be a leading voice for social justice causes and workers and immigrants rights issues across the country and around the world. In addition to his solo work with The Nightwatchman and his role in Rage Against the Machine and Audioslave, Morello remains one of modern rock’s most influential guitarists, and outspoken activists.
Having just wrapped another run with Bruce Springsteen and the E Street band on the “Land of Hope and Dreams American Tour”, as well as a blistering stop at this past weekend’s Newport Folk Festival, Morello will be performing at Louder Than Life in Louisville, KY on September 19th. In addition, Morello recently announced Power To The People Festival — a celebration of peace, justice, solidarity, music, and community action — taking place Saturday, October 3rd at Merriweather Post Pavilion in Columbia, MD. The sold-out one-day festival curated by Morello, will feature special performances from an extraordinary lineup of artists and activists including Dave Matthews, Foo Fighters, Bruce Springsteen, Joan Baez, Public Enemy, Killer Mike, Brittany Howard, Dropkick Murphys, Jack Black (featuring Roman Morello, Revel Ian, Yoyoka Soma and Hugo Weiss), Serj Tankian, grandson, The Neighborhood Kids, Taylor Momsen, Matt Cameron, The Linda Lindas, Darryl “DMC” McDaniels, and a DJ set by artist Shepard Fairey.
TOM MORELLO TOUR DATES
9/18/26 - Cannery Hall - Nashville TN
9/19/26 - Louisville, KY - Louder Than Life 2026
9/20/26 - The Rave/Eagles Club - Milwaukee, WI
10/3/26 - Power to the People 2026 - Washington, DC
3/2/27 - The Esplanade - Medicine Hat, AB, Canada
3/3/27 - Jeanne & Peter Lougheed Performing Arts Centre - Camrose, AB, Canada
3/5/27 - Vic Juba Community Theatre - Lloydminster, AB, Canada
3/6/27 - Dow Centennial Centre Shell Theatre - Fort Saskatchewan AB, Canada
3/8/27 - E.A. Rawlinson Center For The Arts - Prince Albert, SK, Canada
On Bass: Know Your Worth
When I was 15, I played my first “paying” gig. The event was a pool party at NAS Oceana in Virginia Beach, hosted by a classmate from school. We had a three-piece band, and we were paid $100. We had to rent a PA, which was $70. We equally divided up that last 30 bucks and smiled, as we could finally say we were getting a return on all the time and expense we put into our craft. Who am I kidding? At 15, $10 was like a pan of gold. I did feel a sense of real accomplishment, though, knowing I could make (some) money playing music.
I’ve been very lucky to have some great mentors. I was advised on many aspects of my musical journey, except for one thing: money. It seems that salaries and pay scales in the music world are akin to CIA secrets, known to only a privileged few. There is a delicate balance between the gig vs. the paycheck, and sadly, as musicians, I feel we routinely fall short in sticking up for ourselves.
Why is that? Why do we feel we can’t ask for what we need? We worry we’ll lose the gig, and we see a small fee as better than no fee at all. Then the cycle starts.
Before we start to break that cycle, let’s talk about reality vs. expectations. I understand there’s a wide range in pay and types of gigs, so let’s grab some basics. The local “bar” gig pay hasn’t changed in 50 years. One-hundred dollars per player has been some kind of standard for half a century, and bar owners are still hanging on to it. (Can we see this go up, please?) Some gigs, of course, pay more—and a lot pay less.
For these gigs (and any gigs), you must ask yourself what your goals are. Are you trying to make this a regular gig? Are you here for networking? Are you doing it for the love of the game? Once you figure these things out, you can set your personal goals and manage your expectations.
Now, the reality. Money in our business is difficult to gauge. We think we have a pretty good paycheck, then we hear of another band with less audience draw being paid more. The same happens on artist gigs. Every artist is different, but knowing the playing field is a great way to level it. Bar owners, managers, and promoters won’t just throw money at you because you have great hair. You have to ask for that raise, and have good data to back up that ask. And remember, you always have the option to leave if the situation doesn’t work for you.
“Management, venues, and artists are in business to make money. So are you.”
Let’s say you want to take the show on the road. What does that pay really look like? Again, this is that CIA-level anomaly with a wide variation of pay. Here in Nashville, expect different compensation levels when you tour, and decide what you’re comfortable accepting. A new artist can earn from $150-$300 a show, and a more established one can start at $300 and go up from there. Legacy acts can push to $600-$800 or more. It all depends on the number and size of the shows, as well as travel day pay, per diem, and hotel accommodations.
Something to remember is that you are not the artist. You’re a hired gun and paid to do your job. There will be financial disconnect, which for some is difficult—especially if the artist is making $2 million gross a night and the player $1,500 (these numbers are from a true story). Again, your name is not on the marquee, so manage your expectations and proceed.
Even though Nashville is the country music “hub,” a lot of people that tour in the rock world live here as well. Some have said they won’t go back to playing country music again, simply because of the general approach and difference in pay. Again, that all depends on the artist or act. I’ve heard of “legacy” rock acts paying below country new artist wages. Remember, the grass is always greener, but it’s just as hard to mow.
Management, venues, and artists are in business to make money. So are you. Remember that. I’m not trying to scare you away from being a musician; there are entities out there that will treat you fairly and pay you well. If you have a proven track record and real experience under your belt, you’re worth more than you think. You just have to remember that nobody loves you like you. Stand up for yourself.
S.I.T. Strings Updates Power Wound Electric Guitar Strings
S.I.T. Strings (Stay In Tune) has updated its flagship Power Wound Nickel Electric Guitar Strings with enhanced product protection, premium new packaging, and new Gold, Black, and Silver color-coded ball ends.
The company’s strings were first introduced in 1980, and the new redesign across the entire Power Wound family features a premium black carton, a sealed Vapor Corrosion Inhibitor (VCI) bag to help protect strings during storage and shipping.
Every set continues to be manufactured in Akron, Ohio, using premium American materials and S.I.T.'s proprietary Stay-In-Tune™ process, which reinforces the ball-end twist to help deliver the dependable tuning stability Power Wound is known for.
The Power Wound series features a hex-shaped, high-carbon steel core and precision-wound nickel-plated steel wrap wire, designed to deliver a bright, balanced tone with clear highs, tight lows, and smooth mids.
The updated Power Wound electric guitar line is available in a wide range of string gauges and custom sets, well-suited for almost any musical style including rock, metal, blues, jazz, and country.
Street pricing starts at $8.99 for 6-string sets. For more information visit https://sitstrings.com/product/power-wound-nickel-electric-guitar-strings/
Beetronics Seabee Lite Review
If you’ve never played a Beetronics pedal, the company’s extroverted design ethos might seem like a style-before-substance exercise. Nothing could be further from the truth. For starters, Beetronics’ wares are genuinely substantial in terms of quality. The brand is also inventive—and more than a little irreverent at times—when it comes to sonics.
The Seabee Lite (the “lite” most likely refers to its relatively low weight rather than any reduced functionality) is an analog chorus/vibe and occasionally mutant flange-oid modulator. It might not be the company’s most radical offering, and in many respects, it's downright conventional and accessible. But it finds a unique way to walk that path, using an interesting basic chorus voice as a foundation—and in classic Beetronics fashion, offering many enticing ways to mangle it.
Arcade Acumen
While there are more complex modulators out there, the Seabee Lite is nevertheless not for minimalists or the faint of heart. None of the functions here are terribly esoteric. And the three knobs, three toggles, and two footswitches are, by some standards, positively streamlined. But their interactivity, which is a real creative asset here, can mean it’s easy to get a little lost at times.
The pedal’s preset capacity helps address the problem of a porous user memory, to some extent. There are eight factory presets and eight blank ones to make your own, which opens up all kinds of possibilities for texture shifts from song to song. (Presets can also be managed via MIDI.) But the preset functionality can be a minefield of its own if you tend to prioritize other facets of your performance. Because the Seabee Lite’s footswitches are the responsive soft-relay type, their placement makes it easy to accidentally move from live to preset mode. And if you then activate a preset, you’ll need to scroll through all of your presets to get back to live mode. Your results may differ based on your balletic capacity, concentration, and ease with dancing the preset two-step. Me? Well, I messed up a lot.
“Woblee and vibeee modes mixed together might inhabit pedal’s weirdest, most-seasick depths.”
The good news, of course, is that these complexities are the product of cool options. The Seabee Lite expands on a basic chorus’ usual rate-and-depth control set with a feedback control, which is typically seen on a flanger. It lends a given chorus setting a “vowellier,” more wobbly voice. But you can also alter the basic feel of the chorus by switching to flange or wobble mode. In the former, the sinewave that makes up the chorus is more angular and trapezoidal, and extra delay is added. The resulting tones don’t have the jet-phase intensity of a real flanger, but they can still be deeply strange, and some of the most authentically 1980s-style textures live in this hybrid mode. Wobblee utilizes an even greater delay time range—around 25ms—and features a drifting LFO that randomizes the wave peaks within that range, evoking a less-steady-on-your-feet sensation.
The flangee and wobblee voices also sound awesome with the vibee vibrato mode. Flangee can give the vibrato oscillations an almost tremolo-like pulse, which sounds extra cool in stereo. Woblee and vibee modes mixed together might conjure the pedal’s weirdest, most-seasick sounds. In both mode mixes there are lots of subtle shades to use, too.
Chorus Lane
Perhaps because the Seabee Lite’s basic voice has to accommodate so many accents and inflections, that voice is a little more open than some standard-bearing analog choruses. It’s not as syrupy, chewy, or deep as a Blue Hippo or CE-2, but there’s a lot of upside to that. Again, the airier voice allows more room for detail in the pedal’s more intense modulations. But those older analog choruses can be thick and watery to the point of dark, which doesn’t work for every guitar or amplifier voice. If the Seabee Lite’s voice is comparatively thin and toppy, it sure makes a good fit for a burly PAF’s output. And with the high-pass, bandpass, and flat frequency response toggle settings, you can tailor these sounds in even more specific ways.
The Verdict
How you relate to the Seabee Lite’s video-game riot of color and sound will probably depend on how much need for weird there is in your expression. But the Seabee Lite isn’t all bizarro indulgences. The fundamental analog voice is solid and versatile, even if some might find it lacking a touch of body. And while some features can seem clumsy and cluttered, the pedal also inhabits a real sweet spot between a modulator that creates decision fatigue and a 2-knob vintage-style unit. It’s a place you can live creatively without getting too bogged down, and that might be the Seabee Lite’s real magic.
CFG Launches SonikSphere NEO Wireless System
CFG (Cable Free Guitar) has introduced SonikSphere NEO, its second-generation 5.8 GHz wireless system for guitar and bass. It adds important advances, such as under 2.5 ms latency, more than 10 hours of battery life, a -10 dB PAD for hot-output instruments, six color-coded channels, and visual battery bars.
The Gen-2 system operates at 5.8 GHz and is built for players who want to stay out of the heavily used 2.4 GHz space shared by Wi-Fi, Bluetooth, and other everyday devices, NEO keeps the clean 24-bit/48 kHz digital audio approach of the original SonikSphere and updates the parts players deal with in real use: response time, battery headroom, hot-signal control, and stage visibility.
SonikSphere NEO delivers under 2.5 ms latency and more than 10 hours of continuous use per charge. Six color-coded channel banks make channel selection easy to see, while a built-in -10 dB PAD gives active, piezo, and other high-output instruments additional input headroom when their signal is hot enough to cause digital clipping.
The system operates in the 5.8 GHz ISM band and uses frequency-hopping spread spectrum (FHSS). Its specified frequency response is 10 Hz to 22 kHz, with a 110 dB signal-to-noise ratio and up to 100 ft / 30 m of clear line-of-sight range. Up to six NEO pairs can be used at the same time, with each pair assigned to a different color-coded channel.
Both the transmitter and receiver include a visual battery bar and PAD indicator. The transmitter is black and the receiver is silver for faster identification on stage. A 270-degree swivel plug helps the units sit cleanly against a wide range of instrument and amp jack positions. The system is designed for standard 1/4-inch mono instrument-level connections, with the receiver feeding an amp, pedalboard, modeler, or audio interface instrument input.
Key Technical Highlights:
- 5.8 GHz ISM wireless with FHSS
- 24-bit / 48 kHz digital audio, 10 Hz to 22 kHz frequency responseUnder 2.5 ms latency and more than 10 hours of continuous battery life
- Built-in -10 dB PAD for active, piezo, and other high-output instruments
- 6 color-coded channels, up to 6 NEO pairs at the same time
- Visual battery bars for monitoring power
Each SonikSphere NEO system includes one transmitter, one receiver, a USB-A to dual USB-C charging cable, and an owner’s manual. SonikSphere NEO includes CFG’s 2-year warranty. Street price in August 2026 is an introductory price of $139.99, compared with the regular $170 price. For more information visit https://www.cablefreeguitar.com/products/soniksphere-neo.
PRS Introduces Dany Villarreal Custom 24 Signature Limited Edition: the Astryx
PRS Guitars today announced the Astryx Limited Edition, a Custom 24 turned signature model for Dany Villarreal, guitarist and lead vocalist in The Warning. The Astryx Limited Edition is her twist on a Custom 24, with a custom color fade, custom fretboard inlay (featuring paua, gold, and mother of pearl), her signature on the truss rod cover, and every guitar comes with an autographed backplate. The model will be limited to just 200 guitars in 2026. This is Villarreal’s first ever signature model.
“One of the most important things for me in a guitar is that it feels like an extension of my body and that I can trust it and just do my thing. Ever since I tried my first PRS guitar, it’s been an inseparable relationship. With PRS, I feel powerful and confident — and that’s a feeling that once you find, you don’t want to let go of,” said Dany Villarreal.
This guitar is an ode to Villarreal’s rise as a player and her journey toward finding her identity. The model name, Astryx, stems from the root word for “star,” alluding to divine guidance and a connection to something greater than ourselves. Visually, the guitar is personalized with a unique inlay featuring a sun on the twelfth fret, along with a striking new finish. Continuing the celestial theme while honoring her Mexican heritage, the inlay name – Solecito – translates to “little sun.” The finish, a beautiful fade of purple, pink, orange, and yellow, is named Ocaso, fittingly meaning “sunset.”
The core specifications stay true to the Custom 24: maple top, mahogany back, 24-fret, 25” scale length Pattern Thin neck, PRS Patented Gen III Tremolo, and a pair of DMO humbuckers with one notable difference being the ebony fretboard.
“It has such a beautiful sustain, which I really like,” continued Villarreal. “The neck also feels so comfortable, and it’s not that heavy. As the only guitar player in the band, I love how my PRS takes up a lot of space sonically. It does wonders for our three-piece band.”
The announcement aligns with The Warning’s new album “Everything’s Falling” out on August 28, and global headlining tour.
For all of the latest news, visit www.prsguitars.com and follow @prsguitars on Instagram, TikTok, Facebook, X, and YouTube.
Paul Reed Smith to be Inducted into the Guitar Center Rockwalk
PRS Guitars and Guitar Center today announced that the national retailer is inducting Paul Reed Smith into the Hollywood Rockwalk, the handprint-and-signature tribute outside Guitar Center’s flagship Hollywood store on Sunset Boulevard. This pedestrian path and industry-recognized music landmark is dedicated to honoring the musicians and industry pioneers who have made significant and lasting contributions to the growth and evolution of music, through an exceptional level of talent, outstanding innovation and creative ingenuity.
John Mayer will give the induction speech to honor Smith. The handprint ceremony will take place September 26th at the Dell West Plaza Rockwalk Stage at the Moody Center during the Crossroads Guitar Festival in Austin, Texas. The completed handprint will later be installed at Rockwalk outside Guitar Center’s flagship Hollywood store.
“The first time I saw a Rockwalk induction, Ted McCarty was getting inducted and Eddie Van Halen was one of the people in attendance to witness it. I was very pleased for Ted. That I’ll be in the middle of another induction is an honor and leaves me without words. I look forward to seeing everyone,” said Paul Reed Smith, Managing General Partner of PRS Guitars.
“There are very few people in the history of the electric guitar who have pushed the design and perfection of the instrument forward more than Paul,” said Gabe Dalporto, CEO of Guitar Center. “He has inspired generations of musicians and instrument makers and is a living legend in our industry.”
Since its founding in 1985, Rockwalk has celebrated some of the most recognized names in rock, blues, soul and popular music through signature and handprint ceremonies outside the Guitar Center Hollywood. More than 150 artists and innovators have been inducted, including gear pioneers Jim Marshall, Robert Moog and Les Paul, as well as music icons including Eric Clapton, John Lennon, Stevie Wonder, Aerosmith, Janis Joplin, Jimi Hendrix, Alanis Morissette, Black Sabbath, The Ramones, Elvis Presley and Johnny Cash. Located at the entrance of Guitar Center’s flagship Hollywood store on Sunset Boulevard, Rockwalk is a permanent public destination where fans and musicians connect with music history year-round.
For all of the latest news, visit www.prsguitars.com and follow @prsguitars on Instagram, TikTok, Facebook, X, and YouTube.
Reader Guitar of the Month: The Incredible Shrinking, Tenor-Tuned Jaguar
Reader: Verne Andru
Hometown: Vancouver, British Columbia
Guitar: Mini Jaguar tuned in 5ths
I fell down the alt-tuning rabbit-hole by moving from guitar to mandolin, before landing on extended-range tenor guitar. I wanted a nice electric for that purpose, so I approached the Fender Custom Shop through my dealer for a 5-string Jaguar tenor but was told they couldn't do it. I let the idea slide. But then Fender released their Squier Mini Jazzmaster with a 22.75" scale. I realized it would be the perfect platform for tenor tuning—in 5ths—but across six strings. Making it more Jaguar-like would be up to me and Vancouver luthier Paul Iverson.
I found a used Mini Jazzmaster at Guitar Center, but the action was terrible and the fret ends needed attention. I pulled the neck to level the frets and was puzzled by the fret wire. It didn’t feel like the soft nickel I’m used to finding on inexpensive guitars, and it wasn’t stainless, either—but it still fought me. After leveling, I recrowned the frets, dressed the sharp ends, and polished them with 800- and 1,500-grit sandpaper. I’ve never gotten a fret job right on the first pass, but I can usually get it where I want over time as I get used to the feel of the instrument
While the bridge is nothing fancy, it was high quality and the saddles allow a wide range of adjustments. The bigger surprise was the pickups, which sounded great. Even so, I thought GFS’ lipstick humbuckers would be a better fit, and I love the simplicity of lipstick designs in general. With the style of a 1964 Jaguar in mind, I used a tortoise pickguard, but also painted a matching headstock, over which I laid a Jaguar decal. Cutting the pickguard for the Jaguar control plates took some time, but with the cuts made and the Jaguar plates in hand, I got to work on the switching.
I learned electronics from Gar Gillies of Garnet amp fame, so I was comfortable trying a few things. Each pickup’s coils can now run in series, in parallel, or as a single-coil, and a push/push volume knob puts the two pickups in series or parallel with each other. There’s also a zero-load switch that bypasses the volume and tone controls, a blend knob for the two pickups, and a phase switch where a Jaguar’s “bass strangle” switch would go.
The project came out well, and the guitar has become a reliable daily player. I added Wilkinson tuners with a 19:1 ratio for finer tuning. Their long posts have two string holes, and I use the upper one on the Bb so the string doesn’t kink over the nut and throw off the intonation. The lipstick humbuckers sound great, and the guitar is light and easy to play. Tuned in fifths—Bb–F–C–G–D–A—it covers an enormous range. The low string sits a semitone below the low B on a 7-string, and the top string climbs into mandolin territory. Best of all, the switching options give me that many more ways to work with that range. It’s a small guitar, but it does a lot.
Friedman Introduces JOSE 20 Head and Combo
Following the success of the original Friedman JOSE 100, Dave Friedman has introduced the JOSE 20 Series. Available as both a compact head and a 1x12 combo, the JOSE 20 Series delivers the unmistakable voice, feel, and touch response of its 100-watt counterpart - now in a smaller watt format ideal for play at home, in the studio or on stage.
Developed by Dave Friedman in close collaboration with Jose Arredondo’s daughter, Marisol Arredondo, the JOSE 20 Series faithfully translates one of the most influential amplifier voices in rock history into a modern production amplifier. Rather than simply recreating Jose Arredondo’s amplifier modifications, Dave set out to capture the essence of Jose’s work - its feel, dynamics, harmonic complexity, and voice and faithfully translate it into the JOSE 20 Series.
Handcrafted in Los Angeles using premium components and custom-made transformers, every JOSE 20 is built to Dave Friedman’s uncompromising standards.
Jose Arredondo’s groundbreaking amplifier modifications helped define the sound of high-gain rock. His hot-rodded British amplifiers delivered greater sustain, richer harmonics, tighter low end, and a more responsive feel than players had ever experienced. They weren’t production amplifiers - they were individually modified instruments that became the secret weapon of countless professional guitarists and inspired generations of players, builders, and tone chasers.
The JOSE 20 Series distills that voice into a compact 20-watt platform. Internally bridged Volume I and Volume II recreate the classic channel-jumping technique players once achieved with patch cables, blending bright attack with warm body to create the rich harmonic foundation at the heart of the Jose sound.
The Plexi/Gain switch introduces a true additional gain stage, seamlessly moving from classic Plexi response into the aggressive saturation that defined Jose’s most celebrated modifications. The Fat switch adds body, low-end authority, and increased punch while preserving the articulation and clarity that make the amp exceptionally responsive.
The unique three-position Gain Style switch further expands the JOSE 20’s tonal palette by repositioning the master volume within the circuit while introducing diode clipping for additional bite and sustain. Rather than simply adding more gain, each position reshapes the amplifier’s response, delivering everything from articulate hot-rodded Plexi crunch to crushing rhythm tones and fluid, harmonically rich lead sounds.
A transparent series effects loop and System Master Volume allow players to experience authentic Jose dynamics at virtually any playing level.
Available as either a 20-watt head or a 1x12 combo loaded with a Celestion G12M-65 Creamback, selected by Dave Friedman for its warm midrange, smooth top end, and dynamic response.
Key features include:
- Available as a 20-watt all-tube head or 1x12 combo
- 2 x EL84 Power Tubes4 x 12AX7 Preamp Tubes
- Combo loaded with a Celestion G12M-65 Creamback speaker
- Developed by Dave Friedman in collaboration with Marisol Arredondo
- Inspired by the legendary amplifier modifications of Jose Arredondo
- Internally bridged Volume I & II recreate classic channel jumping
- Plexi/Gain switch introduces a true additional gain stage
- Fat switch adds body, punch, and low-end authority
- Three-position Gain Style switch revoices the circuit for three distinct Jose-inspired gain structures
- System Master VolumeTransparent series effects loop
- Custom made transformers
- Handcrafted in Los Angeles, California, with Limited 5-Year Warranty
- Head Dimensions: 8.5" (D) x 18" (W) x 8.25" (H)
- Head Weight: 22.5 lbs.
- Combo Dimensions: 11.5" (D) x 18.75" (W) x 16.75" (H)
Friedman’s JOSE 20 amp head carries a $1799.99 street price and the 1x12 combo is street priced at $2099.99. For more information visit friedmanamplification.com.
JOSE 20 Head and Combo
August 27, 2026 - Following the success of the original Friedman JOSE 100, Dave Friedman has introduced the JOSE 20 Series. Available as both a compact head and a 1x12 combo, the JOSE 20 Series delivers the unmistakable voice, feel, and touch response of its 100-watt counterpart - now in a smaller watt format ideal for play at home, in the studio or on stage.
Guitar Center unveils the 2026 Exclusive Crossroads Guitar Collection
Guitar Center today unveiled the 2026 Exclusive Crossroads Guitar Collection (https://t.e2ma.net/click/l4543m/hda7hd/92s4tv), a lineup of signature guitars and accessories created in collaboration with Eric Clapton and industry-leading brands Martin, Fender and Ernie Ball. Launching ahead of the 2026 Crossroads Guitar Festival, the limited-edition collection builds on more than two decades of collaboration between Guitar Center, Clapton and the Crossroads organization. Proceeds from the collection support Crossroads Centre Antigua, the addiction treatment center Clapton founded in 1998.
Guitar Center’s relationship with Eric Clapton began in 2004, when the company purchased several of his most legendary guitars at the 2004 Crossroads Guitar Auction, including his iconic Blackie Fender Stratocaster, the Cream-era Gibson ES-335 and George Harrison’s Martin 00-21. Those historic instruments are now part of Guitar Center’s renowned Legends Collection, a one-of-a-kind archive of historically significant instruments on display at its flagship Hollywood store. Their acquisition laid the foundation for an enduring collaboration with Clapton and many of the world’s most respected guitar manufacturers, resulting in some of Guitar Center’s most coveted artist recreations and exclusive Crossroads Guitar Collections.
“For more than two decades, we’ve partnered with Eric Clapton and the Crossroads organization to create iconic instruments, with powerful stories behind them, and put them in musicians’ hands,” said Gabe Dalporto, CEO of Guitar Center. “The 2026 Crossroads Guitar Collection continues that tradition, with every one sold supporting a cause Eric has championed for decades.”
Guitar Center’s exclusive Eric Clapton collaborations have long been among the company’s most sought-after releases. The recreation of Eric Clapton’s legendary Blackie Stratocaster sold out in just four hours in 2006, becoming the company’s fastest-selling guitar launch at the time. More recently, Guitar Center’s exclusive Gibson Custom Eric Clapton 1958 Les Paul sold out in less than 12 hours following its 2025 debut. Since then, Guitar Center has continued its decades-long partnership with Eric Clapton through a series of exclusive Crossroads Guitar Collections, offering musicians first access to many of the collaboration’s most coveted releases.
Spanning handcrafted acoustic guitars, faithful recreations of Clapton’s most iconic electric instruments, and premium accessories, the 2026 Crossroads Guitar Collection offers something for every type of player – from exquisitely crafted collector pieces to signature models designed for everyday musicians. Developed in collaboration with Martin, Fender and Ernie Ball, each product celebrates a defining chapter of Clapton’s career while supporting the mission of Crossroads Centre Antigua.
“Music has always been my most reliable source of inspiration, or salvation,” said Eric Clapton. “These guitars are sacred things to me.”
As the exclusive retail partner of the 2026 Crossroads Guitar Festival, Guitar Center returns to support the event and its mission to benefit Crossroads Centre Antigua. This year, Guitar Center will bring its presence to life through The Guitar Center Experience, an immersive destination at Austin’s Moody Center where fans can explore the new 2026 Crossroads Guitar Collection, connect with leading guitar brands including Fender, Gibson, Martin, PRS and Ernie Ball, and engage in hands-on interactive experiences throughout the weekend. Guitar Center will also offer on-site retail, giving attendees access to the exclusive 2026 Crossroads Guitar Collection and other festival merchandise.
In addition, PRS Guitars will support the 2026 Crossroads Guitar Collection in partnership with John Mayer, whose limited-edition PRS Silver Sky “Crossroads” model will be available exclusively through Guitar Center and make its first public appearance onstage with Mayer at the 2026 Crossroads Guitar Festival.
Complementing the new Crossroads Guitar Collection, The Guitar Center Experience will also feature a rare showcase of iconic guitars from Guitar Center’s renowned Legends Collection, including Eric Clapton’s legendary original Blackie Stratocaster and his Cream-era Gibson ES-335.
Fans will have a rare opportunity to view two of the most iconic guitars in rock history up close, while Guitar Center continues its legacy of honoring music’s most influential figures by inducting Paul Reed Smith, founder of PRS Guitars, into the famed Guitar Center Rockwalk during the festival.
Crossroads Guitar Collection Highlights
Martin Custom Shop 000-42 Eric Clapton Brazilian ($24,999.99)
The centerpiece of the 2026 Crossroads Guitar Collection, the Martin Custom Shop 000-42 Eric Clapton Brazilian represents the pinnacle of Eric Clapton’s more than 30-year relationship with Martin Guitar. Limited to just five instruments worldwide, the guitar is handcrafted with rare Brazilian rosewood back and sides, a solid Adirondack spruce top and Clapton’s preferred 000 body shape – the same style made famous during his legendary MTV Unplugged performance. Each guitar is personally hand-signed by Clapton and includes a Certificate of Authenticity, making it one of the most exclusive Eric Clapton signature guitars ever offered by Guitar Center.
Martin Custom Shop 000-42 Eric Clapton Ziricote (Natural & Sunburst) (starting at $9,699.99)
Joining the collection’s flagship Brazilian rosewood model, the Martin Custom Shop 000-42 Eric Clapton Ziricote pairs Clapton’s preferred 000 body shape with ziricote tonewood, prized for its rich sound and striking natural grain. Limited to just 50 guitars in each of two finishes, 1935 Sunburst and Clear Natural, the handcrafted Custom Shop model features a solid Adirondack spruce top, Golden Era 42-style appointments and an ebony fingerboard with an “Eric Clapton” signature inlay. Each guitar includes a printed Certificate of Authenticity and is available exclusively through Guitar Center.
Fender Blind Faith Telecaster ($4,999.99)
Inspired by the iconic guitar Eric Clapton assembled on his kitchen table in 1969 and debuted at Blind Faith’s legendary Hyde Park concert, the Fender Eric Clapton Blind Faith Telecaster faithfully recreates one of the most recognizable instruments of his career. Limited to just 130 guitars worldwide, the production model combines a Telecaster Custom body with a replica 1956 “Brownie” Stratocaster neck and period-correct details, while including both modern electronics and a vintage “Woof Tone” wiring kit for players seeking an authentic recreation. Available exclusively through Guitar Center, each guitar features a unique “EPC” serial number honoring Eric Patrick Clapton.
PRS John Mayer Silver Sky ($3,750.00)
Developed in partnership with John Mayer, the limited-edition PRS Silver Sky “Crossroads” features a unique Incline Blue finish, rosewood fretboard with a custom “Crossroads Sun” inlay at the 12th fret and a “Crossroads Guitar Festival 2026” neck plate. Limited to just 70 guitars, the model will make its first public appearance onstage with John Mayer at the 2026 Crossroads Guitar Festival.
Martin 000-13E Eric Clapton (Natural & Sunburst) (starting at $1,899.99)
Designed to bring an authentic Eric Clapton signature Martin to more players, the Martin 000-13E delivers Clapton’s signature acoustic style at the most accessible price point in the collaboration’s history. Inspired by the smaller-bodied 000 guitars Clapton has favored on stage and in the studio for decades, it features a spruce top with ziricote fine veneer back and sides, along with a built-in soundhole tuner and Martin E1 pickup—the first time those features have been offered together on an Eric Clapton signature Martin. Available in Antique Toner Natural and 1935 Sunburst finishes, the guitar is available exclusively through Guitar Center in the U.S. through Jan. 27, 2027.
Ernie Ball Eric Clapton Strings ($29.99)
Celebrating nearly 50 years of Eric Clapton’s relationship with Ernie Ball, the Ernie Ball Eric Clapton Signature Strings mark the first-ever signature string set created in collaboration with the legendary guitarist. Packaged in a collectible commemorative tin containing three sets of Ernie Ball Slinky 10–46 strings—the gauge Clapton has relied on throughout much of his career—the limited-edition release gives players the opportunity to experience the feel and tone trusted by one of music’s most celebrated guitarists. Limited to 5,000 collectible tin sets and available exclusively through Guitar Center, the strings complete the 2026 Crossroads Guitar Collection.
The 2026 Crossroads Guitar Collection will be available beginning August 26 at Guitar Center stores nationwide and online at guitarcenter.com and will also be available for purchase at The Guitar Center Experience during the 2026 Crossroads Guitar Festival.
Vintage Vault: The Good, the Bad, and the Ugly of Vintage Guitars at the Movies
“It’s a Gibson SG, mint condish.”
Jack Black, as Dewey Finn, in the film School of Rock is the ultimate guitar salesman. Watch the scene where he puts the class band together, and you’ll pick up on his awesome energy. Dewey is so into what he’s teaching; he’s like some sort of a sanctified backwoods preacher on a sunny Sunday morning delivering the gospel. It’s his enthusiasm that sparks the kids into learning how to rock. What is Dewey’s Excalibur, his all-conquering and mighty weapon? It’s that Gibson SG guitar.
The way I see it, the guitar in cinema can be considered a ticket. In most cases, it’s a ticket to a better life for the person playing it. Be it creative expression, a way to escape poverty, or a way to escape the humdrum existence of the suburbs à la Marty McFly, the guitar, and music, can take you there.
Today, we’re going to look at the good, the bad, and the unexpected as far as vintage guitars are concerned in movies. Length constraints for this article dictate that I might miss your favorite guitar movie, and I apologize for that. I’ll talk about a couple of mine and maybe one you’re not familiar with.
First, the not-so-good. The Buddy Holly Story was released in 1978. It’s an excellent story about Buddy’s life, and Gary Busey is absolutely incredible portraying the young singer, songwriter, and guitar slinger from Lubbock, Texas. But man, for a guitar geek, it’s a little hard to watch. It’s like the people in the props department for that film didn’t do their homework at all.
In the beginning of this film, we see our hero playing at a roller rink in Lubbock, just before he finds fame as a recording artist. It’s a sock-hop and the kids are there to have some fun. It’s an infectious scene with great energy. What’s Buddy playing? A Fender Bronco.
Cue the record scratch: a Bronco? Wow, that’s an inspired choice! It’s also a guitar that didn’t make the Fender lineup for a full eight years after Buddy, Ritchie Valens, the Big Bopper, and their pilot died in a plane crash early in the morning of February 3, 1959 in Clear Lake, Iowa. It’s a cringe moment for guitar aficionados and historians alike.
Not only is Holly playing a guitar that didn’t exist in the ’50s, he’s playing it through an amp made by a company that didn’t exist yet either. In the roller-rink scene, Buddy’s plugged into a Music Man amp. Music Man started production in 1974, a full 15 years after Buddy died. At the end of the movie, they show Holly playing his final show with a ’70s Strat with a large headstock. At least they got the Strat part right. It’s like they didn’t even try with the details!
Don’t get me wrong—I love this film. The story is told in a compelling way, and it gets me every time. I just wish they would’ve paid even a small amount of attention to the musical instruments in the film.
That was the bad; now for the good. La Bamba is my go-to Hollywood film for accuracy in the guitar department—ironically, a story concerning another man killed in the same plane crash, Ritchie Valens. Lou Diamond Phillips plays Ritchie, and does so with aplomb. Every character, every scene, in La Bamba is done with a level of care and attention to detail that seldom come together in a music biopic.
All the musical details in the movie are just about perfect. When pre-fame Ritchie shows up to audition for the Silhouettes, what does he have in tow? A seriously beat-up, single-pickup Harmony Stratotone, and a well-trashed Fender tweed Champ. This was probably the default setup for just about every fledgling rock ’n’ roll hero of the era. Nailed it! Later on in the film, after Ritchie has scored some chart success, we see him out driving around with his girlfriend, Donna. What’s in the back seat of Ritchie’s T’bird? It’s a tweed hardcase, with his Stratocaster inside. It’s a tiny detail, but those details make for a great film.
Later, when they show Ritchie playing on American Bandstand, he’s playing what looks like a lightly used ash-bodied Strat, which he probably picked up for $100 or less at a local pawn shop. Ash Strats were made from ’54 to ’56, so it would’ve been a little early for Ritchie to buy one new. At the end of the film, during his last show, he’s portrayed with yet another Strat. It’s a brand new, shiny, alder-bodied Strat. Ritchie likely received this one at the factory in Fullerton, right before he left for his first big tour in 1959. There’s some serious attention to detail in this film. If you haven’t watched it, do yourself a favor and look it up.
And now for the unexpected: Bell, Book and Candle. Made in 1958, it’s a wonderful rom-com about a witch who wants to experience love. (The film’s also the basis for the iconic TV series, Bewitched.) There’s some serious star power here, with Kim Novak as the witch, James Stewart as the love interest, and Jack Lemon as the troublesome little brother. Bell, Book and Candle has a couple of guitar sightings that will totally blow your mind. I don’t want to spoil them here—you just gotta watch it.
Until next time, happy viewing, and as they say in Tinseltown: Cut! That’s a wrap.
DOD Pushes Analog Delay to the Edge with New DRAG Pedal
DOD announces the release of the DRAG™ Analog Delay, a new effects pedal that reimagines what analog delay can do through aggressive time-warping control, expanded modulation, and performance-driven features. Available now worldwide through local retailers and online, the DRAG combines classic analog BBD delay with new patent-pending functionality designed to push delay effects well beyond traditional boundaries.
Built around an all-analog bucket brigade design, the DRAG delivers up to 750 milliseconds of delay time, extendable to 1.5 seconds via its Rubbernecking™ function. From tight slapback echoes to drifting, modulated repeats and controllable runaway oscillation, the pedal is designed to move fluidly between familiar delay sounds and more unpredictable, expressive territory. Four standard delay controls: Time, Feedback, Level, and Filter, with two performance controls unique to the DRAG: Drift™, and Friction™, provide detailed command over delay response, tone shaping, and modulation behavior.
At the center of the DRAG experience are its time-warping features, including Rubberneck, SlideStop™, and Evade™ Friction categories. Engaged via the footswitch and Friction control, these functions allow players to manipulate delay time and pitch in real time. SlideStop™ can bring the delay signal to a complete stop before ramping it back up, while Evade introduces alternate motion behaviors such as HopStop™ and Slide-n-Go™. Rubbernecking adds octave-up and octave-down pitch shifting tied directly to delay time changes, opening further performance possibilities.
Modulation capabilities are equally deep, with four selectable waveforms: sine, reverse saw, square, and random. Plus, three intensity ranges: light, medium, and heavy. The Drift control adjusts modulation depth and speed, while the Curve™ control shapes how that modulation behaves, allowing users to dial in anything from subtle movement to more extreme, shifting textures.
The multi-function footswitch expands control beyond simple on/off operation, A short press engages or bypasses the pedal according to the selected bypass mode. Holding the footswitch activates the Friction feature, allowing expressive real-time control over SlideStop, RubberNeck, and Evade features. The two controls next to the footswitch are Drift and Friction change The DRIFT settings. The button in the middle of the pedal allows you to select between multiple bypass modes including True Bypass, and buffered options with delay tails. For extended control, a 3.5mm input supports connection to an optional FS3X footswitch, enabling tap tempo, oscillation hold, and modulation toggling.
Housed in an aluminum chassis with a top-jack design, the DRAG also introduces a patent-pending reversible StagePlate™. This two-sided plate allows players to switch between a Tire Tread Skid Pad for added stability and a hook surface for secure pedalboard mounting.
The DRAG runs on a standard 9V DC power supply, measures 4.8” x 2.8” x 1.5”, and weighs 0.67 lbs., making it a compact yet feature-rich addition to any setup.
For more information on the DRAG Analog Delay, visit www.digitech.com.
Street Price: $219.99 USD
Polyphia Announces New Record "Be Not Afraid"
Today, the genre-defying instrumental rock innovators Polyphia announce their fifth full-length studio album BE NOT AFRAID out October 23rd with Rise Records.
With the news, the band also released their new single off the record “POWER IN THE BLOOD” with an accompanying music video you can watch HERE . Filmed in Rio de Janeiro, Brazil, this video finds the band playing against the ornate, gold-leaf Baroque backdrops from the São Francisco da Penitência Church. The powerful visual lays the foundation for what’s to come off the new record, directed by Caleb Young.
Throughout 2024 and 2025, Polyphia worked together in various locations in Miami, Los Angeles and Dallas alongside co-producer RJ Pasin and guitar phenom Spiro Dussias. Guitarist Tim Henson took a different approach to composition, initially singing lines aloud and then translating them onto guitar, creating a process that encouraged the entire band to build on each other’s ideas in real time. More than anything, the sessions were defined by how much fun they were having creating music together. By the time the album was finished, they had reached a point where they could let go of any expectations about what would happen next and simply enjoy what they had created together.
“Instead of going wide on BE NOT AFRAID, we went as deep as we could,” Henson shares. “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.”
"We physically can't make the same album twice," adds guitarist Scott LePage. "We have a yearning to evolve. It was so much fun to write this one together too – the writing sessions for past Polyphia records typically looked like us gathering our ideas separately first and bringing them to each other second, so we took a different approach with BE NOT AFRAID by treating the sessions like an opportunity to create with everybody in the room first before getting into the separate writing. It was a much more communal approach that led to us having so much fun making it that the fun itself was the magic being captured."
The collective thread together a three-dimensional offering of otherworldly metal, future-facing prog, and pulsating house sealed tightly with carefully curated samples, inventive beat-craft, and the guitar eloquence that Tim and Scott remain renowned for. This time around, the instrumental push-and-pull invokes the polarity of the ultimate extremes: good and evil.
When speaking on the album Henson adds, “The album takes you through the extremes of two different worlds / moods: one being very uplifting and triumphant, the other being spine-chilling and terrifying. There are moments on the record that legitimately scare me when I listen to them.”
Earlier this year, Polyphia teased their new chapter with the release of their first single in over four years, “CAN YOU FEEL IT .” Pushing boundaries in ways the band never has before with a hybrid of metal and dance music, their music video showcased an electrifying performance by the band amidst a crowd of fans.
"During the making of this record, we went down some pretty dark rabbit holes. We kept coming across things that were so depraved they sounded insane when you said them out loud. Then some of the very things we had been talking about started appearing in documents released to the public. You can read that stuff and feel disgusted, demoralized, and completely powerless. BE NOT AFRAID is our response to that. Rather than allowing the ugliness of the world to paralyze us, we put everything we had into making something beautiful. We weren’t afraid of whether something was too different or whether people were going to understand it. We just followed what excited us and made what I believe is our best record to date,” Henson explains.
Polyphia refused to compromise on BE NOT AFRAID. Getting the album exactly where they wanted it meant giving it more time and ultimately pushing the North American leg of the 2026 World Tour to early 2027. RJ Pasin will still support every date worldwide. North American shows will feature Ladrones, with select dates including Intervals. Perturbator will join all UK and European dates, which remain unchanged for Nov/Dec 2026.
Tickets purchased for previous tour dates are valid for the newly announced show dates. A full list of show dates can be found below. For more information and to purchase tickets visit Polyphia.com .
North America Tour Dates 2027 w/ Ladrones & RJ Pasin:
* w/ Intervals
# No Ladrones
February 5 - Phoenix, AZ - Arizona Financial Theatre
February 6 - Las Vegas, NV - House of Blues
February 9 - Los Angeles, CA - Hollywood Palladium
February 10 - San Diego, CA – SOMA #
February 11 - Anaheim, CA - House of Blues
February 14 - San Francisco, CA - The Masonic
February 17 - Seattle, WA - Paramount Theatre
February 19 - Salt Lake City, UT - The Depot
February 20 - Denver, CO - The Fillmore Auditorium
February 23 - Minneapolis, MN - Uptown Theater
February 24 - Milwaukee, WI - Landmark Credit Union Live
February 25 - Chicago, IL - Aragon Ballroom
February 26 - Indianapolis, IN - Egyptian Room at Old National Centre
February 27 - Detroit, MI - The Fillmore Detroit
March 2 - Toronto, ON - Great Canadian Toronto *
March 3 - Montreal, QC – L’Olympia *
March 5 - Philadelphia, PA - The Fillmore Philadelphia
March 6 - Brooklyn, NY - Brooklyn Paramount
March 7 - Boston, MA - MGM Music Hall at Fenway
March 9 - Washington, DC - Echostage
March 10- Raleigh, NC - The Ritz
March 12 - Charlotte, NC - The Fillmore Charlotte
March 13- Orlando, FL - Hard Rock Live
March 14 - St. Petersburg, FL - Jannus Live
March 16 - Atlanta, GA - Coca-Cola Roxy
March 17- Birmingham, AL - Avondale Brewing Company
March 18 - Nashville, TN - The Truth
March 20 - Dallas, TX - South Side Ballroom
Europe/UK Tour Dates w/ Perturbator & RJ Pasin:
Nov 18 – Zurich, CH – Halle 622
Nov 19 – Lyon, FR – Le Radiant
Nov 20 – Toulouse, FR – Interference
Nov 22 – Barcelona, ES – Razzmatazz
Nov 23 – Madrid, ES – Sala La Riviera
Nov 25 – Milan, IT – Alcatraz
Nov 27 – Munich, DE – Zenith
Nov 28 – Prague, CZ – SaSaZu
Nov 29 – Warsaw, PL – Progresja
Nov 30 – Leipzig, DE – Haus Auensee
Dec 2 – Hamburg, DE – Docks
Dec 4 – Copenhagen, DK – Amager Bio
Dec 5 – Berlin, DE – Tempodrom
Dec 6 – Oberhausen, DE – Turbinenhalle
Dec 7 – Brussels, BE – Ancienne Belgique
Dec 8 – Amsterdam, NL – AFAS Live
Dec 9 – Paris, FR – Zenith Paris
Dec 11 – Birmingham, UK – 02 Academy Birmingham
Dec 12 – Manchester, UK – Manchester Academy
Dec 15 – Leeds, UK – O2 Academy Leeds
Dec 16 – London, UK – O2 Academy Brixton
Polyphia have always said what they need to say with their instruments. Since their emergence in 2010, the Texas-bred outfit—Tim Henson [guitar], Scott LePage [guitar], Clay Gober [bass], and Clay Aeschliman [drums]—have organically progressed across a series of acclaimed albums, including Muse [2014], Renaissance [2016], New Levels New Devils [2018], and Remember That You Will Die [2022]. The latter bowed at #1 on the Billboard Top Hard Rock Albums Chart and cracked the Top 40 of the Billboard 200. Tallying hundreds of millions of streams, it established the band as rare outliers equally suited to collaborations with either pop singer Sophia Black, multiplatinum rapper SNOT, guitar hero Steve Vai, or iconic Deftones frontman Chino Moreno (on the same body of work). It’s no wonder Guitar World readers unanimously voted it “The Best Guitar Album of 2022.” Beyond headlining sold-out tours, the group incited the applause of Wired, Revolver, and Rolling Stone who described Tim as “reinventing the instrument for more than a decade.” However, the quartet make a particularly provocative and powerful sonic statement on their fifth full-length offering, BE NOT AFRAID [Rise Records]. The collective thread together a three-dimensional tableau of otherworldly metal, future-facing prog, and pulsating house sealed tightly with carefully curated samples, inventive beat-craft, and the guitar eloquence that Tim and Scott remain renowned for. This time around, the instrumental push-and-pull invokes the polarity of the ultimate extremes: good and evil.