Premier Guitar

At NAMM 2026, Ashdown Engineering proudly announces Phase 2 of its return to UK manufacturing, following the successful September 2025 launch of the UK-built ABM EVO IV heads and UK-ABM and Classic cabinet ranges.

This next stage represents a continued, long-term commitment to British design, engineering, and production, building on the momentum established by Ashdown’s flagship UK-made products.

For NAMM 2026, Ashdown unveils five brand-new UK-built amplifier ranges, all scheduled to ship in 2026.

Every new model is designed, engineered, and handcrafted in Britain. These launches expand Ashdown’s renewed UK manufacturing focus into a complete, multi-tier amplifier ecosystem, delivering British-built solutions for musicians at every level.

UK-RBM

The UK-RBM Series is designed for professional bassists who demand maximum power, tonal control, and flexibility. Delivering Ashdown’s most recognisable sound in a modern, lightweight format, the range includes amplifier heads and newly designed UK-RBM cabinets, creating a complete, performance-ready system.

The UK-RBM amplifier heads combine powerful output with advanced tone-shaping tools to deliver deep, authoritative low end, articulate mids, and controlled high-frequency detail. Features such as Ashdown’s Sub-Harmonic Generator, onboard compression, valve-emulated overdrive, and Analogue Cab Sim allow players to shape everything from tight, punchy modern tones to rich, harmonically complex sounds with confidence.

The matching UK-RBM cabinets have been newly designed, tuned, sized, and ported to deliver optimal performance in lightweight plywood enclosures. Equipped with high-performance Italian Sica NEO speakers and adjustable high-frequency tweeters, they provide fast response, clarity, and controlled projection across a wide range of playing styles and stage environments.

Finished in a striking new heavy-duty Charcoal Tweed covering and custom grill cloth, the UK-RBM cabinets combine durability with a bold, modern aesthetic.

Handcrafted in the UK using premium components, the UK-RBM Series is built for demanding live stages, professional touring rigs, and bassists who want total command over their sound.

UK-OBM

The UK-OBM Series is designed for bassists who value clarity, simplicity, and reliability. Built in the UK, the range delivers clean, articulate tone with minimal fuss and maximum usability, making it ideal for players who want dependable performance without unnecessary complexity.

The UK-OBM lineup includes newly updated combo amplifiers featuring high-powered models and new Italian Sica NEO drivers, delivering improved efficiency, punch, and clarity. These combos are house in reengineered lightweight plywood cabinets, newly sized and optimised for balanced projection and portability.

Finished in Ice Blue and a new heavy-duty Charcoal Tweed covering with custom grill cloth, the UK-OBM combos combine durability with a modern, professional aesthetic.

With a refined features set and intuitive controls, the UK-OBM amplifiers are designed for musicians who want to plug in, dial in quickly, and get straight to playing. An open, balanced sound makes the series equally well suited to rehearsals, live performances, and studio work.

UK-SBM

The UK-SBM Series brings Ashdown’s studio-focused tonal philosophy into a range of compact, UK-built bass combo amplifiers. Designed for clarity, responsiveness, and musical transparency, the series prioritises clean tone and dynamic response in lightweight, portable enclosures.

Inspired by Ashdown’s Studio range, UK-SBM combos deliver a refined, natural sound that translates seamlessly in recording environments while remaining powerful enough for rehearsals and small live stages. Newly ported and structurally strengthened cabinets are engineered to handle higher power levels, ensuring confidence and control at increased volumes.

The cabinets are equipped with new, highly efficient Italian Sica NEO drivers, and articulate low-end performance. Finished in a heavy-duty Charcoal Tweed covering with custom grill cloth, the UK-SBM combos combine durability with a modern professional aesthetic.

Featuring DI outputs, FX loops, and onboard overdrive across the range, the UK-SBM Series offers practical versatility for practice, recording, songwriting, and intimate performance spaces.

UK-PBM

The UK-PBM Series is Ashdown’s answer to the modern bassist’s need for extreme portability without compromise. Designed and built in the UK, the range delivers genuine Ashdown tone in an ultra-compact, travel-friendly format.

Launching with the UK-PBM-200 “Pocket Bass Magnifier" AKA The ANT, the series delivers a surprising amount of real-world power from a palm-sized chassis. Despite its minimal footprint, its produces clean, articulate output with impressive low-end authority and ample headroom for rehearsals, smaller stages, and professional monitoring setups.

The UK-PBM is solidly built by design, retaining a touch of added weight to ensure stability and resonance. This robust construction helps generate real bass response while preventing excessive cabinet vibration, keeping amplifiers securely in place even when the low end is working hard.

With essential tone shaping, DI output, headphone out, line input, and auto-voltage operation, the UK-PBM Series is ideal for fly rigs, touring backups, studio use, IEM-based setups, and bassists who need reliable tone wherever they play.

UK-PEACMAKER

The UK-Peacemaker Series marks the return of one of Ashdown’s most iconic amplifier names, celebrating Dave Green’s formidable and widely respected valve amplifier design expertise. Handcrafted in the UK and refined for today’s players, the range revisits and updates legendary designs from Ashdown’s past.

Built for musicians who value feel, dynamics, and harmonic richness, the UK-Peacemaker delivers expressive British valve tone with depth, warmth, and authority. At its core, the series showcases Dave Green’s unmistakable valve amp philosophy, brought forward with modern reliability while preserving the character that made the originals so highly regarded.

The UK-Peacemaker Series is built using premium components throughout, included JJ valves, UK hand-wound transformers, and lightweight plywood cabinets loaded with UK-made Celestion Creamback speakers.

Hand-built in Essex, England, the UK-Peacemaker Series stands as a statement range - honouring Ashdown’s heritage while delivering timeless British valve tone for the modern guitarist.

From cabinets to flagship heads, and now a complete amplifier ecosystem, Ashdown’s UK manufacturing programme continues to grow with clarity and intent.

Every new range launching at NAMM 2026 is designed, engineered, and built in Britain.

After more than a decade of collaboration, Stringjoy has collaborated with guitar virtuoso and frontman of the Bros. Landreth, Joey Landreth, to release the Stringjoy Joey Landreth Artist Signature set.

Joey Landreth is a Canadian guitarist, songwriter, and producer known for his soulful voice and slide guitar virtuosity. As a founding member of Bros. Landreth, his playing and songwriting blends blues, rock, and Americana styles, and his stunning tone and penchant for first-rate gear have made him a modern guitar hero to players all over the world.

Stringjoy’s Joey Landreth Signature Set features:

• Gauges: .019 - .022p - .024w - .032 - .044 - .056
• Nickel wound Stringjoy Signatures
• Wound 3rd string
• Ideal for Open C and other dropped or open tunings on a standard scale-length guitar
• Optimal for both slide and fretted/hybrid playing
• As with all Stringjoy offerings, Joey Landreth Signatures are produced at Stringjoy HQ in Nashville, TN, with domestically sourced materials of the highest quality
• Stringjoy Signatures are wound at tension with high compression winds, increasing their output and naturally maximizing durability and lifespan

Stringjoy Joey Landreth Artist Signature strings were born of a decade-long collaboration between Stringjoy’s Scott Marquart and Landreth in which the two sought to formulate the perfect set for Landreth’s use of open tunings and hybrid slide technique.

“Long before anyone was paying attention to what my band was doing or what I was doing as a guitar player, [Stringjoy] were supporters of what we were doing,” says Landreth. “We landed on 56 on the bottom with 19 on top, which supports lower tuning really, really nicely and opens up the possibility for some really clean playing, whether I’m playing slide or fretted. This set has helped me get to the places I want to get as a player, and it also celebrates my friendship and collaboration with Scott [Marquart] and Stringjoy. I’m really proud of it

“I still remember the first time Joey told me he played 19s,” says Stringjoy’s Scott Marquart. “Nineteens!? I couldn’t wrap my head around it. But once I saw his full specs and understood how he plays—and especially after hearing him play in person—it all clicked. Joey and I have spent the better part of the last decade refining this set together, and it represents years of friendship & experimentation. I couldn’t be more proud to have both of our names on it.”

Stringjoy Joey Landreth Artist Signature strings carry a street price of $13.99. For more information visit stringjoy.com.

Laney has launched the DB-EAST-PRE Nathan East Signature bass preamp pedal.

What separates the DB-EAST-PRE from generic bass preamps is simple: Nathan East didn’t just approve it. He designed it around the exact problems he encounters every week as a working musician, and it’s designed with enormous flexibility in mind.

Nathan doesn’t play one bass, in one style, in one context. He moves between acoustic and electric basses. Four-string and five-string instruments. Active and passive electronics. Sometimes all within the same set, on the same stage. Most preamps make this painful. Switching instruments means stopping to re-dial input trims and levels. That’s not realistic in a professional environment.

The DB-EAST-PRE solves this with dual inputs, including independent trim control on Input 2. Switch instruments and your levels are instantly matched. No volume jumps. No tone shifts. Just seamless transitions.

The DB-EAST-PRE ships with Nathan East’s favourite LA·IR impulse responses pre-loaded. These aren’t generic cabinet simulations—they’re IRs taken directly from the rigs that have defined his touring and studio sound.

Even better, the system is intelligent. Select Input 1 and the corresponding IRs load automatically. Switch to Input 2 and the cabinet responses adapt to match. It’s fast, musical, and invisible in use.

Run the DI output straight to a front-of-house console, into a DAW, or into a powered speaker system. Using the companion app, you can manage real-time parametric EQ and store cabinet IRs tailored to specific venues or recording situations.

Every control on the DB-EAST-PRE exists for a reason. The master volume lets you shape the preamp’s character while maintaining precise control over overall output. The TUBE channel includes dedicated EQ voicing for players who want to refine the drive characteristics of their tone.

The RANGE control reinforces low-end weight within the drive section, while selectable mid pre-shapes allow you to fine-tune presence, punch, and articulation.

This isn’t complexity for its own sake. It’s acknowledgement that professional bass players need precision, adaptability, and control—night after night.

Key Specifications

• Signature Dual-Input Bass Preamp – Designed with Nathan East for seamless switching between multiple basses, active and passive
• Independent Input Trim Control – Automatic level matching between instruments for uninterrupted live performance
• LA·IR Advanced Impulse Response Technology – Pre-loaded with Nathan East’s personal touring and session cabinet IRs
• Professional DI & Recording Ready – Optimised outputs for live consoles, DAWs, powered speakers, and silent practice
• Precision Tone Shaping – Tube channel voicing, selectable mid pre-shapes, RANGE low-end control, and master output control
• Handcrafted in England – Built at Laney’s Black Country Customs workshop; compact, pedalboard-ready

Handcrafted in the UK the DB-EAST-PRE is pedalboard friendly and robust enough for demanding session and touring work.

The DB-EAST-PRE is carries a street price of $429.99. For more information visit https://www.laney.co.uk/amps/bass/digbeth/bcc-db-east-pre.

Italian effects maker Dophix®, known for its handmade analog pedals that blend sonic artistry with Tuscan craftsmanship, announces the release of the Magnifico Dual Independent Boost Pedal. The pedal is the result of a collaboration with Artur Menezes and the first ten will be personally signed my Menezes. Available now worldwide through select retailers, the Magnifico represents a refined evolution in the pursuit of expressive tone and musical warmth.

Inspired by the spirit of Lorenzo de’ Medici’s “Il Magnifico”, the celebrated patron of Renaissance art and culture, the new Magnifico pedal embodies both elegance and power. This dual channel boost pedal offers players exceptional dynamics, precision, and tonal control in a fully analog, hand-wired design.

Featuring two completely independent boost circuits, each has its own Level control and dedicated input/output jacks for true signal separation. Whether used to push an amplifier into natural overdrive or to elevate solos with transparent volume lift, the Magnifico gives guitarists total command over their tone.

Constructed with discrete, high-quality components and vintage-grade resistors, the Magnifico delivers the warmth, clarity, and harmonic richness that define the Dophix sound. Each pedal is handcrafted in Italy, employing true bypass switching to preserve tonal integrity when not engaged. Designed for flexibility and musical sensitivity, it draws only 19 mA with LED on and operates on a 9V DC external power supply.

Rooted in the artistic legacy of Florence, Dophix continues its mission to merge Italian design, handcrafted quality, and vintage sound philosophy. The Magnifico stands as both a tribute to Renaissance craftsmanship and a modern tool for discerning guitarists who demand authentic analog character.

For detailed specifications, please visit www.dophix.it.

Street Price: $350.00 USD/€300.00 EUR

Blues-rock virtuoso and legendary collector Joe Bonamassa joins Axe Lords for an episode that dives deep into the wild, weird, and sometimes downright wicked world of vintage guitars. Buckle up as Joe tries to convince Tom to stop weighing his instruments, expounds on the mythology of double-white PAFs, explains why taking a Flying V into a motel room is “sick and wrong,” and reveals that having a stage persona (and a good suit) is the true path to spiritual liberation.

Mike Hickey, Joe’s longtime guitar tech, also drops into the conversation. Shenanigans ensue.

This episode originally aired in April 2024 as part of Season 1 of Axe Lords.

Axe Lords is presented in partnership with Premier Guitar. Hosted by Dave Hill, Cindy Hulej and Tom Beaujour. Produced by Studio Kairos. Executive Producer is Kirsten Cluthe. Edited by Justin Thomas (Revoice Media). Engineered by Patrick Samaha. Recorded at Kensaltown East, NYC. Artwork by Mark Dowd. Theme music by Valley Lodge.

Follow Axe Lords @axelordspod for news, updates, and cool stuff.

Follow Joe ⁠@joebonamassa

As a Fender amp guy, I frequently cross paths with musicians and guitar players in all sorts of situations. What I enjoy most is fieldwork—setting up amps onstage or troubleshooting tubes, fuses, speakers, and rattling noises on the fly. Here are a couple of stories where I got the last-minute call to save the gig.

In 2013, organizers of the Kongsberg Jazzfestival in Norway reached out in urgent need of guitar amps for Robben Ford and Matt Schofield. I was thrilled—I knew I had the perfect amps for these blues aficionados. Though I had never seen Ford play live, I knew from reading interviews that he liked black panel Fenders. Schofield was more familiar to me. I’d caught him several times, always playing his SVL guitars through Two-Rock amps. I particularly remember one time he taped over the logo of a 4x12" Marshall speaker cabinet, probably because he didn’t want to be associated with the brand.

I loaded my car with my best Super Reverb, a silver panel Vibrolux Reverb, and a silver panel Deluxe Reverb as backup amps, both converted to black panel specs with modern upgraded speakers. The Vibrolux had a pair of 10" Weber 10A125s and the Deluxe a 12" Celestion Century Vintage, the very first guitar amp speaker with a neodymium magnet. Together with a custom pair of 6L6s, this amp was both lighter and twice as loud and punchy as a normal Deluxe Reverb.

For Matt, I borrowed my brother’s Two-Rock Custom Signature v3 and a 40 kg oak cabinet loaded with four heavy-duty Weber 10A150 and 10F150 speakers. It even had a cool Weber logo on the front. At soundcheck, I met up with Simon Law, Matt’s guitar tech and the founder of SVL Guitars. He was a bit unsure about the robustness of the original CTS speakers in the Super, but I assured him that they could take a beating.

We set up both the Super and Vibrolux for Robben and the Two-Rock for Matt on top of the huge Weber cabinet. I remember Matt spending a lot of time rotating the Two-Rock’s knobs to find his tone. Meanwhile, Robben didn’t even look at his amps before he struck a chord, and he was shocked by the loud volume! He walked back a few meters to dial down the level on both amps.

“The whole shop erupted when Kirk demoed a few Albert King licks—powerful bends, vibrato, and those unmistakable facial expressions to match.”

During the gig, I stood right in the line of fire of all the amps and enjoyed the show. Robben’s ES-335 sounded clean and articulate, and Matt had his typical saturated and fat single-coil neck-pickup Strat tone. They both sounded fabulous. It was great seeing them perform, and also meeting them before the gig.

A few years later, I was introduced to two of my all-time guitar heroes, Kirk Fletcher and Josh Smith. The meeting came via the talented Adam Douglas, who also lives in Norway. Adam came up with an idea to do a daytime jam session with Kirk and Josh in a guitar store. So I texted with the owner of Vintagegitar, a high-end boutique shop in Oslo, who immediately said yes. I lifted 15-20 different vintage Fender amps into my Fenderguru trailer and headed for town.

On the shop floor, we had nearly every Fender blackface amp in existence, plus a few great silver panels. Kirk played his flametop Les Paul while Josh had his regular black Chapin T-Bird. I plugged them into different amps and started turning knobs. Josh spent time with my 1966 Princeton Reverb, loaded with a custom '60s Jensen C10n speaker. Meanwhile, Kirk grabbed a Flying V hanging on the wall. I plugged him into a stock 1964 Twin Reverb with Oxford 12T6 speakers. With the volume between 4 and 5, the Twin was loud, and the Flying V's hot humbuckers filled the room with sustaining single notes.

The whole shop erupted when Kirk demoed a few Albert King licks—powerful bends, vibrato, and those unmistakable facial expressions to match. Goosebumps.

Kirk liked that Twin so much he asked to borrow it for his gig that night. A few songs from that October 2015 show at Herr Nilsen are documented on YouTube for anyone wanting to hear some serious blues guitar.

Finally, after 5 years of talking Fender amps for Premier Guitar, the time has come for me to say goodbye to all of you. I’d like to offer a huge thanks to all the readers and the professional, fun, and knowledgeful people at PG, in particular my editors Ted Drozdowski and Luke Ottenhof. I have really enjoyed working with you, and I hope my contributions have inspired older and newer generations to enjoy the classic Fender amps and to keep the legacy going.

Cloud Microphones has unveiled its new Cloudlifter Mini CL-25 compact mic preamp. Offering the same award-winning circuitry and performance specs as the original Cloudlifter CL-1, the Mini CL-25 is a custom engineering collaboration with Neutrik. Using standard 48-volt phantom power, the unit’s ultra-compact in-line design interfaces directly with dynamic, ribbon, and tube microphones to provide up to +25 dB of ultra-clean gain, and is the smallest and most portable Cloudlifter ever produced for studio, broadcast, and live sound professionals.

Plugging directly into microphones, preamps, mixers, stage boxes, and wall panels, the Mini CL-25 is built utilizing a custom Neutrik gold-plated XLR connector system. Employing hard-soldered, wire-free internal circuitry designed to meet the demands of thousands of insertion cycles, the device offers reliability within live and studio environments where daily hard use is the norm.

As a tool to achieve more clarity while reducing noise or coloration, the Mini CL-25 adds clean, transparent gain before your preamp using standard phantom power that isn’t passed along to the microphone. Along with cleaner gain, the unit lets users operate with lower preamp gain settings to better preserve clarity, detail, and authenticity. Resulting performance provides more of the actual microphone and less preamp coloration and artifacts, along with increased headroom.

Optimal for voice mics, dynamic mics, and low-output microphones, plus situations where protection for ribbon mics is desirable, the CL-25 will find itself completely at home in applications including studio recording, broadcast, location recording, podcasting, and live sound. Advantages within the latter category center around its compact form factor that won’t pull or stress microphone connectors, clear gain and natural frequency response (which helps reduce artifacts that cause feedback), easier EQ control from the mixing console, its ability to eliminate the need for an extra mic cable, and an external black finish that maintains a low visual profile onstage.

Designed using state-of-the-art multilayer technology and high-tech engineering, the streamlined miniaturization process at the heart of the Mini CL-25 brings the smallest footprint possible to the Cloudlifter universe, but guarantees that no sacrifices to either performance or audio quality are made along the way. The true sound of the source with all the attributes the Cloudlifter line has built its reputation upon remains totally uncompromised.

The Cloudlifter Mini CL-25 is now shipping and carries a street price of $149. For more information visit cloudmicrophones.com.

Spending quality time with the Silktone Expander is like getting lost in a garden maze in late spring. You might not always know where you are, but the sensory overload is so rich and intoxicating that you’ll forget you were trying to get anywhere specific in the first place. Using the Expander, a player encounters full, resonant boost, overdrive, and distortion tones that can sound great in the most straightforward applications. But there are also unusual gain flavors in abundance, ranging from exploding-5-watt-antique-amp textures, thrilling uncommon fuzz fare, and ghostly, smoky, fiery, in-between sounds that defy easy categorization but can drive a mixer, arranger, or songwriter’s inspiration to white-hot levels.

Getting the most out of the Expander’s, well, expansive tone vocabulary requires you to be realistic and honest about your relationship to strictly analog methods. There are no presets here. And while the Expander can cover textures you might otherwise assign to three or four gain devices with their own dedicated footswitches, you do all that here with a single footswitch, three knobs, and a toggle. So, tapping into the breadth of the Expander’s capabilities in performance takes confidence, and a creative mindset that allows for happy accidents. If your composing and performance style is more “roll-with-it” than surgical and uncompromising, the Silktone Expander opens doors that reveal unexpected surprises.

A Chameleon, An Individual

One of the trickiest things about reviewing the Expander and boiling it down to its essence is how hard it is to find equivalent sounds as a base for comparison. The germanium heart of the pedal is inspired by a Dallas Rangemaster, and some overdriven and fuzzy facets of its personality sound and behave like a germanium Fuzz Face. At other times it responded like my Jext Telez Selmer Buzz Tone clone running at 3 volts. Some of the Expander’s warm, fizzy drive tones also evoke console preamp-style pedals like the Hudson Broadcast. But on the flip side, I’d plug the Expander in alongside a favorite clean boost, sparkly overdrive, or preamp, and end up totally preferring its balance of clarity, detail, and energy.

If you find a combination this pedal sounds lousy with, let us know! We’re still looking.

How did Silktone craft a pedal that’s so many pedals in one? There are clues to Silktone founder Charles Henry’s intent. In addition to the Rangemaster influence, Henry gravitated toward the Shin-Ei FY-2 and FY-6 as well as the Roland Bee Baa—all fuzzes that speak through bold, often radical voices. Certainly, tones of that ilk live here. But there is much in the Expander that reflects the mindset of an amp builder—and Henry is a very creative one. In lay terms, the Expander’s circuit works like this: A JFET transistor that emphasizes rich, consonant, 2nd order harmonics makes up the first power stage. The second stage is Henry's riff on the germanium Rangemaster circuit. That is almost certainly the origin of many of the Expander’s hazier, fuzzier, but also more dynamically responsive tendencies. A JFET at the output stage effectively emulates the saturation that occurs in a real tube amplifier's first stage—probably a reason the Expander sounds great at low amp volumes. There’s nothing terribly complex going on here. But in practice you hear a balance more typical of a great amp: Warm when clean, full of overtone character when run at its limits, and responsive across a wide dynamic range and EQ spectrum.

It’s true that this breadth of sounds could be a challenge to manage for players accustomed to pedal presets. The Expander is a very hands-on pedal. But it must be said that the intuitive ease with which you can move between radically different sounds is impressive. The simple controls have great range, especially the tone or “choke” knob, which alone can recast a given output volume or gain level drastically. The choke knob can, in turn, be radically reshaped by the 3-position voice switch, which enables moves from a dark voicing at the left-most position, a neutral position in the center, and a bright setting at the right. Henry suggests that the dark voicing is best for high-gain sounds, and the bright switch for low-gain output. He’s right. But perhaps predictably, the Expander gave me many satisfying reasons to violate this guideline.

Equal Opportunity Expander

Though I tried, I really couldn’t find an amp and guitar pairing that wasn’t enhanced by the Expander. A Jaguar running through a hot, 15-watt EL84 amp at attenuated levels? Magic! An SG driving a Fender Reverb tank and a 50-watt Bassman? Double, extra-thrilling, super-loud magic! A Rickenbacker and Champ? That combo sounded ten times as big and fat, all at a volume that any soundman or engineer could love. I could go on. I threw Danelectros and Eko 12 strings at this pedal. Mixed it with other gain sources as divergent as Harmonic Percolators, Selmer Buzz Tone clones, Tube Screamers, Boss DS-1s and Vox Tone Benders. In every case the Expander was not just agreeable and accommodating but had real enhancements to lend. If you find a combination this pedal sounds lousy with, let us know! We’re still looking.

The Verdict

For all its understated, elegant design, the Silktone Expander is packed with sounds that not only bring a lifeless amp to life, but do so in ways distinctive enough to jump-start a stalled recording project or rescue a song from the doldrums. The straight-ahead, all-analog design means that presets aren’t coming to save you in a pinch. You’ll need to get crafty, be resourceful, and practice using the Expander. But it is incredibly forgiving, a willing co-pilot, and full of alternative tone treasures—particularly for players willing to explore and improvise. While $269 might seem a lot for a pedal this simple, the quality is tip-top, and it certainly makes several of my gain devices feel superfluous. If you have downsizing to do, the Silktone Expander, despite its name, is a beautiful solution that leaves you no less rich in tone options.

MGK—formerly known as Machine Gun Kelly—released his seventh studio record, Lost Americana, last August. When he took it out on tour, he hired two firebreathing fretboard masters, Justin Lyons and Sophie Lloyd, to knock his audiences dead. Ahead of their gig at Nashville’s Bridgestone Arena, PG’s Chris Kies met up with Lyons and Lloyd to get the lowdown on how they bring MGK’s music to life. Scope some of the highlights below.

Brought to you by D’Addario.

Make Your Mark

This PRS Mark Tremonti is one of Lyons’ current favorites, despite the black finish—typically, he’d never take a black guitar, but this one’s so good that it gets a pass.

Bow Down

Just before Christmas, Reverend sent over this Sensei model, along with a Roundhouse. Lyons, who’s in talks with the company to build a signature model, can’t put the Sensei down.

Justin Lyons’ Tone Master Rig

For their amp-free, in-ear monitor stage setup, Lyons loves the Fender Tone Master Pro unit, which lets him emulate his treasured Mesa/Boogie amps. Tack a TS-style boost in front and he’s in tone heaven. He also digs Mark Lettieri’s patch pack.

Kiesel Engine

Lloyd was Kiesel’s first female signature artist, and she brought a stable of them out with MGK. Lloyd’s models feature black limba bodies and walnut necks, with Kiesel Lithium pickups in the bridge position. Her signatures are unique because they include a Sustaniac in the neck position, which makes the guitar “ring out forever” and offers different octave options. Lloyd uses the kill switch on her guitars during the show for “big ending” moments. She runs her Kiesels with Ernie Ball Paradigm strings (.010–.046).

Sophie Lloyd’s Kemper Rig

Back home, Lloyd likes playing through a Neural Quad Cortex, but on this tour, she’s running a Kemper Profiler like the rest of the band. She was skeptical at first that it could replicate that magic of her favorite Diezel amp, but it does the job—and then some.

The rack backstage carries the Profiler brains, plus the Radial JX42 and Shure AD4Q units that handle Lloyd’s and Lyon’s signals.

Seymour Duncan, a leading manufacturer of guitar and bass pickups, effects pedals, and pedal amps, is proud to announce The 50th Anniversary Limited Edition JB / Jazz Humbucker Set is now available to order from seymourduncan.com and from authorized Seymour Duncan dealers.

Experience the true origin of the hot-rodded humbucker with the 50th Anniversary Limited Edition JB / Jazz Set. Built with historically accurate parts including butyrate bobbins and rough-cast magnets, this set faithfully replicates the earliest production models. Presented in retro silver packaging and limited to 2026 production only, this is a collectible piece of tone history.

• Authentic recreation of the original JB / Jazz humbuckers
• Limited-edition packaging inspired by early Seymour Duncan designs
• Features a commemorative 50th Anniversary logo on the bottom plate
• Includes butyrate bobbins crafted using our original 1970's mold and true to vintage design specifications
• Proven JB / Jazz versatility from articulate cleans to expressive rock gain
• Available for a limited time in 2026 only, making it a true collector’s item
• DC Resistance: Jazz 7.5k - JB 16.6k - Magnet: Rough Cast Alnico V
• Cable: 1c Braided - Long Leg Bottom Plate
• Available in traditional Black and Zebra

MAP pricing: $258.00

Half a century of legendary tone starts here. In 1976, Seymour Duncan officially launched the company that would revolutionize electric guitar sound, but the story began years earlier in a London workshop where Seymour crafted pickups for rock's most influential players. Among his greatest achievements was a revolutionary humbucker set that would become the foundation of countless iconic recordings. Now, as we celebrate 50 years of innovation and craftsmanship, we're honoring that legacy with something truly special: the 50th Anniversary Limited Edition JB / Jazz Humbucker Set.

These aren't just commemorative pickups. They're the benchmark combination that has defined versatile guitar tone for generations, now crafted with the exact vintage-correct specifications of our earliest production models. When the JB officially went into production, the basic recipe was already set, but those earliest models used butyrate bobbins, long-legged baseplates, single-conductor cable, maple spacers, and rough-cast Alnico V magnets. Over time, practical updates were added for consistency and flexibility, such as modern bobbin materials that better handle vacuum wax potting, precision-ground Alnico V magnets, and short legs. Today's standard production JB / Jazz delivers that same legendary tone with these modern refinements. This special 50th Anniversary set faithfully recreates the original vintage-correct component blueprint while preserving the familiar JB and Jazz voice players already trust, with the legendary clarity and dynamics that earned the combo its status as the industry standard. Whether you're tracking sessions at home or covering everything from blues to hard rock at the club, this is the proven tone that does it all without compromise.

For serious players ready to finish their number one guitar, this is your moment. The JB / Jazz combination remains one of our best-selling humbucker sets because it simply works: rich harmonics, singing sustain, articulate clarity, and everything from warm neck cleans to aggressive bridge drive in one definitive package. Now you can own this iconic pairing in its most collectible form, built exactly as Seymour crafted them in our earliest years. The set arrives in limited edition silver packaging that echoes our original artwork from the company's founding era, while the bottom plate bears our commemorative 50th Anniversary logo. Available exclusively during 2026, this limited production run ensures you're not just upgrading your guitar; you're acquiring a rare celebration of 50 years of uncompromising excellence. Secure this definitive heritage piece for your instrument and connect to 50 years of Seymour Duncan legacy.

Kiesel Guitars has introduced the newest model in the company’s iconic line of custom-built instruments: the Mark 66 now joins the lineup of Kiesel’s premium US-made instruments.

Designed to excel in a variety of musical styles, the versatile Mark 66 is available in a 6-string configuration. Key features include:

• BODY WOOD OPTIONS: Alder, Black Limba, Mahogany, Swamp Ash, 1-Piece Swamp Ash, Walnut, or 1-Piece Roasted Swamp Ash
• NECK SCALE LENGTH: 25.5” or 30”
• FRETBOARD MATERIAL: Over 15 different options
• NUMBER OF FRETS: 22 frets
• NOTABLE PICKUP/ELECTRONICS OPTIONS: Kiesel’s new AP90s or two humbuckers

NOTABLE HARDWARE OPTIONS: Tune-O-Matic with stop tailpiece, non-floating Gotoh 510 tremolo, or EverTune bridges

Like other Kiesel models, the new Mark 66 is available in a wide range of options for unique customization. Players can select their favorite finish, tonewoods, electronics and hardware to create the guitar of their dreams…expertly crafted in Kiesel’s Southern California custom shop.

Kiesel’s new Mark 66 is available for street pricing starting at $1,649. For more information, visit kieselguitars.com.

Ultimate Support Systems has introduced three new gig bags: available for acoustic guitar, electric guitar and electric bass, these new gig bags offer an updated balance of protection, comfort and practicality.

Built from water resistant materials that stand up to the rigors of travel and unexpected weather, each bag is made of 1680D luggage-grade ballistic nylon and features a 15mm padded interior as well as a dedicated neck support. The snug, structured fit prevents unwanted shifting during transport, protecting the guitar’s most vulnerable points from impact or pressure. The ergonomic design also helps distribute weight evenly for maximum comfort and portability.

Additionally, the backpack-style straps make it easy to carry the instrument while juggling other gear like pedals and cables. With two exterior storage pockets, musicians can also stash other accessories, like tuners, strings and sheet music — or any other last-minute stage essentials. There’s enough space to stay organized without adding bulk, striking the perfect balance between sleek and functional.

With streamlined dimensions to best accommodate each model, the new Gig Bags ensure a glove-like fit no matter what. Designed to fit most standard acoustics, the Acoustic Guitar Gig Bag has an interior length of 40.5 inches, a depth of five inches, upper bout of six inches and a lower bout of 15.5 inches. The Electric Guitar Gig Bag has a 38.75-inch interior length, 14.5-inch lower bout, six-inch upper bout and a sleek, two-inch deep profile, tailored to most standard electrics. Finally, the Electric Bass Gig Bag is built for larger-scale instruments, measuring 46.5 inches internally, 14.75 inches across the lower bout and six inches at the upper, while maintaining a slim, two-inch depth for a clean, secure fit.

“For many players, the road to the next gig can be filled with unpredictable conditions, such as sudden downpours, crowded subways and tight load-in spaces,” says Shawn Wells, Market Manager — Sound, ACT Entertainment. “We understand that a great performance starts long before the first note, which is why we are introducing these three new gig bags, designed for musicians living life on the go. From rehearsals and home studios to stages and sessions, Ultimate Support Systems’ new gig bags embody the brand’s long-standing commitment to helping artists perform with durability and comfort that is crafted for real-world use.”

All three versions of Ultimate Support Systems’ new gig bags carry a street price of $99.99. For more information visit: actentertainment.com/ultimate-support-detail/.

Gibson today announces the release of the Mark Morton Les Paul™ Modern Quilt, a bold new signature model designed in collaboration with Mark Morton, the acclaimed guitarist and co-founder of Lamb of God. Known for his ferocious riffs, intricate solos, and genre-defining blend of metal, thrash, and blues influences, Morton has long been celebrated as one of the driving forces behind the new wave of American heavy metal. His new signature Les Paul captures that same fearless musical spirit—delivering precision, power, and uncompromising performance for players who demand the very best. The Mark Morton Les Paul Modern Quilt is available worldwide at Gibson Garage locations, via authorized Gibson Custom dealers, and on Gibson.com.

“I wanted something that stayed classic to the heritage and the history of the Les Paul, and something that looked heavy metal,” says Mark Morton. “The quilt top and the trans black satin finish felt dark and metal to me, but not over the top, it still feels like and looks like a Les Paul. Once we decided on the finish of the top, and the guitar, there’s are all of these different design elements to play with re picking out the hardware and plastics. We tried a bunch of different options, and we paid a lot of attention to how we were going to finalize those little details, and for me it’s a bullseye.

The 60s style knobs are a cool throwback to the John Sykes model that was done a long time ago. The way it is contoured at the heel allows me to reach the upper registers comfortably, and the ebony fretboard is really fast. This model has a slim taper neck which was very important for me, as it’s the most comfortable neck profile.”

Morton continues, “The pickups are unique to this guitar, it’s a brand new Gibson pickup and I worked closely with Jim DeCola (Master luthier at Gibson), and the Gibson Pickup Shop in designing them. They’re both ceramic-based pickups the neck pickup wise more conservative and terms of its output which allows me to flip to the neck position and play clean and roll back the volume and not hit the amp as hard and clean things up quite a bit. Switching to the bridge pick up it’s just a flame thrower, its super high output, and when you’re really swinging at these bridge pickups they give you all the gain you want they really hit hard and you can pull back to get more of a crunch sound.

We went back and forth on these pickups for quite a while trying different prototypes and models. It was a lot of fun developing them and hearing the subtle nuances and different changes. The great thing about it was I was touring a lot, so I’d take prototypes and put them in a guitar and try them onstage. I got to put them through the paces, in an actual work environment.

It’s an iconic guitar and an important piece of music history, and for me to be associated with the legacy of the Les Paul, is one of the greatest honors of my career. I am thrilled with the process of developing this guitar, and I am immensely thrilled with the outcome. These are great guitars, I am so proud to play them, and people are really going to like them.”

Crafted for comfort and expression, the Mark Morton Les Paul Modern Quilt features a AAA quilted maple top paired with a mahogany body utilizing Gibson’s Ultra Modern Weight Relief, offering exceptional resonance with reduced weight for long sets on stage or in the studio. Its mahogany neck with a SlimTaper™ profile and Modern Contoured Heel provides effortless upper-fret access, while the ebony fingerboard boasts a compound radius, 22 medium jumbo frets, and mother-of-pearl trapezoid inlays for a fast, elegant playing experience. Finished in Translucent Ebony Burst Satin, the guitar’s striking aesthetic is complemented by chrome hardware, Grover® Rotomatic® locking tuners, black rings with chrome trim, and a truss rod cover bearing Morton’s signature.

At the heart of the instrument are two exclusive Mark Morton signature humbucker™ pickups, handcrafted by the Gibson Pickup Shop to deliver the guitarist’s unmistakable tone. The rhythm pickup features moderate, Patent Applied For-style windings with a ceramic magnet for clarity and punch, while the lead pickup offers higher-output windings and a ceramic magnet for added presence and power. Both pickups are wired to individual volume and tone controls with Orange Drop® capacitors and a three-way selector switch, giving players a wide dynamic range and exceptional tonal precision.

Each guitar ships in a Modern hardshell case and includes a premium accessory kit, along with a set of Stringjoy® Mark Morton Artist Series Signature Electric Guitar Strings. The result is a signature model built for the intensity of the world’s biggest stages yet refined enough for the most demanding studio sessions.

The Mark Morton Les Paul Modern Quilt stands as a testament to Morton’s artistry and Gibson’s commitment to crafting instruments that inspire. Designed for players who push boundaries, it delivers the power, finesse, and unmistakable character worthy of one of metal’s most influential guitarists.

Lamb of God have announced Into Oblivion, their first full‑length album in four years, arriving March 13 via Epic Records alongside a new music video for the title track. The 10‑song record finds the band fully embracing their status as modern metal veterans—leaning into their roots, sharpening their signature groove, and expanding their sonic reach with a sense of creative freedom. The title track’s video, directed by Tom Flynn and Mike Watts, channels the band’s trademark aggression through psychologically charged lyrics and unrelenting intensity. Guitarist Mark Morton describes the album as a return to unpressured creativity, while vocalist Randy Blythe frames its themes around the accelerating breakdown of the social contract.

Watch the new video for the single “Into Oblivion” HERE.

Ahead of the announcement, Lamb of God previewed the album’s range with two blistering singles: “Sepsis,” a nod to the early 90s Richmond underground that shaped their beginnings, and “Parasocial Christ,” a three‑minute blast of classic Lamb of God energy. Produced and mixed by longtime collaborator Josh Wilbur, Into Oblivion was recorded across locations central to the band’s identity—drums in Richmond, guitars and bass at Morton’s home studio, and Blythe’s vocals at the storied Total Access Recording in Redondo Beach. The result is a record that feels both deliberate and untethered, reaffirming Lamb of God’s place at the forefront of heavy music.

The Lamb of God lead flamethrower has played Gibsons since the '90s and now has a signature model that brings the modern chug and crunch with some contemporary changes to the iconic recipe.

GRAMMY® Award-nominated genre-defying songwriter, producer, podcast host, and guitarist extraordinaire Cory Wong released his new album, Lost In The Wonder, today.

Lost In The Wonder spotlights Wong’s remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. The album further affirms Wong’s enduring love of musical collaboration, boasting a truly eclectic range of guest artists, including Taylor Hanson, Devon Gilfillian, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Theo Katzman, and Magic City Hippies.“There are lots of sides to me as an artist,” says Wong.

“A lot of people know me as a guitar guy, or even more specifically, ‘rhythm guitar guy’. That’s an accurate description, but it doesn’t tell the whole story. I see the guitar as just one of the avenues for my music and creativity. It’s been an absolute joy to develop and form a signature sound as a guitarist, but a huge part of my artistry is in my production/writing/arranging/band-leading. I’ve worked on and honed those skills just as much as my guitar playing, so I wanted to make an album that really showcased that side of my creative expression. Does that mean there’s less guitar on this album than on others? No! It’s actually quite the opposite. I feel like some of my best guitar work is done on this album. There’s everything from my classic rhythm guitar sound to multiple layers of orchestrally arranged guitar to blistering solos when the music calls for it.

“I think anyone who’s a great producer/writer/arranger also really likes to collaborate with other people because it gives you different colors and textures to ‘paint’ with. My aim is to showcase different sides of my artistry by putting several collaborators in front of the music and having me build the world that it lives in.”

Lost In The Wonder was heralded with the release of a series of memorable singles, including the hook-heavy and irresistibly catchy “Tongue Tied (Feat. Stephen Day).” This was followed by the crisp yet dreamy mid-tempo title track, the jazzy disco of "Blame It On The Moon," the 80s-esque anthem "One Way Road (Feat. Yam Haus)," the retro banger "Better Than This (Feat. Cody Fry)," and finally last week's masterful soul ballad collaboration with Theo Katzman, "Lisa Never Wanted To Be Famous (Feat. Theo Katzman)." An official music video for "Lisa Never Wanted To Be Famous (Feat. Theo Katzman) is streaming now on YouTube.

LISTEN TO “TONGUE TIED (FEAT. STEPHEN DAY)”

LISTEN TO “LOST IN THE WONDER (FEAT. BENNY SINGS)”

LISTEN TO “BLAME IT ON THE MOON (FEAT. MAGIC CITY HIPPIES)”

LISTEN TO “ONE WAY ROAD (FEAT. YAM HAUS)”

LISTEN TO "BETTER THAN THIS (FEAT. CODY FRY)"

LISTEN TO "LISA NEVER WANTED TO BE FAMOUS (FEAT. THEO KATZMAN)"

WATCH "LISA NEVER WANTED TO BE FAMOUS (FEAT. THEO KATZMAN)" OFFICIAL MUSIC VIDEO

CORY WONG ON TOUR 2026

MARCH

21 – São Paulo, Brazil – Casa Natura

22-30 – São Paulo, Brazil – Dave Koz and Friends at Sea 2026 †

29 – Buenos Aires, Argentina – C Art Media

APRIL

11 – Charlotte, NC – The Spring Mix at The Amp Ballantyne †

15 - Kansas City, MO - The Truman (Devon Gilfillian, Marc Scibilia)

17 - Denver, CO - The Mission Ballroom (Devon Gilfillian, Marc Scibilia)

18 - Salt Lake City, UT - The Depot (Devon Gilfillian, Marc Scibilia)

20 - Portland, OR - Crystal Ballroom (Devon Gilfillian, Marc Scibilia)

21 - Seattle, WA - The Paramount (Devon Gilfillian, Marc Scibilia)

23 - Sacramento, CA - Channel 24 (Devon Gilfillian, Stephen Day)

24 - San Francisco, CA - The Warfield (Devon Gilfillian, Stephen Day)

25 - Los Angeles, CA - The Wiltern (Devon Gilfillian, Stephen Day)

26 - Del Mar, CA - The Sound (Devon Gilfillian, Stephen Day)

27 - Las Vegas, NV - Brooklyn Bowl (Devon Gilfillian, Stephen Day)

30 - Houston, TX - White Oak Downstairs (Devon Gilfillian, Stephen Day)

MAY

1 - Dallas, TX - House of Blues (Devon Gilfillian, Stephen Day)

2 - Austin, TX - Stubb’s Waller Creek Amphitheater (Devon Gilfillian, Stephen Day)

7-9 – San José del Cabo, México – Viva El Gonzo †

† Festival Appearance

^ w/ the Royal Conservatory Orchestra

Julia Steiner describes the song “Just Want You to Know the Truth” as the emotional centerpiece of Ratboys’ new record, Singin’ to an Empty Chair; it’s the “earth’s core of this little planet of songs,” she explains. The Chicago band’s upcoming sixth full-length, releasing on New West Records, took its name from a line in that song. Steiner, the band’s principal vocalist and one half of their twin-guitar configuration, wrote the phrase after literally doing what it suggests during a therapy session.

“It’s exactly what you would think,” Steiner explains. “It’s basically this exercise where you sit in a room with an empty chair and, a person who isn’t physically there, you imagine they’re sitting in the chair, and you speak aloud all of the thoughts and feelings that you might otherwise not feel empowered or ready to share. It can be a really radical thing to do in any context of loss.”

“Looking something in the face can actually be so rewarding and musically satisfying.”—Julia Steiner

When Steiner first tried it, it helped unlock something—a new perspective that revealed the mental and emotional keys of her band’s next work. “Maybe it sounds hippie,” she says with a shrug, “but it worked for me, and I have to imagine that it could be cool for other people to try, too.” Steiner always loved the gut-wrenching vulnerability of Sufjan Stevens; Singin’ to an Empty Chair became her chance to follow in his footsteps. Producer Chris Walla, who spent 17 years playing guitar in Death Cab for Cutie, encouraged “unflinching eye contact” with the things Steiner wanted to write about. “Looking something in the face can actually be so rewarding and musically satisfying,” she says. “Just full steam ahead, leaning into a feeling.”

The songs on Singin’ to an Empty Chair were written across a years-long period; some had been around in demo form since before Ratboys’ previous record, The Window, was released. “We’ve all been keeping up with the story of these songs,” says guitarist Dave Sagan. “It’s kind of like an old group getting back together and picking up where it left off. I feel like that brought us a lot of comfort and joy.”

The music on Singin’ often radiates with those two qualities. Save for a few moments of pandemonium, Ratboys’ distinctly midwestern indie rock feels friendly and cozy, like a mug of tea in a snowstorm. There’s a kind of patience in the slow-building, cinematic opener “Open Up,” which does eventually bloom into fully saturated rock ’n’ roll, in the alt-country sway of “Penny in the Lake,” and especially on the eight-and-a-half-minute “Just Want You to Know the Truth.” But that calmness is upended by the headbanging slacker-rock chorus of “Know You Then,” and the crackling, hyper thrill of “Anywhere,” an ode to an anxious dog. One of the greatest gifts Ratboys have given us is a place where fans of Weezer, Pavement, the Replacements, and Lucinda Williams can hear all of those favorites in one place.

To prepare the record’s 11 songs, Sagan, Steiner, bassist Sean Neumann, and drummer Marcus Nuccio rented a cabin on 20 acres of land in Wisconsin. Perhaps inspired by Steiner’s journey toward honesty, the band embraced directness: If a section sounded like an epic rock part, they called it “the epic rock part.” Walla joined them at the Wisconsin hideaway for some tracking, with the rest mostly completed at the late Steve Albini’s Electrical Audio in Chicago.

“We’ve all been keeping up with the story of these songs. It’s kind of like an old group getting back together and picking up where it left off.”—Dave Sagan

Sagan recorded primarily through his Music Man 212-HD One Thirty, and Steiner used her beloved Fender Hot Rod DeVille. It was broken when she purchased it, and in the course of having it repaired, a friend made a mystery mod that lends extra dirt and attitude. But working at Electrical Audio gave them access to plenty of special gear, like a 1959 Fender Vibrolux (heard on “Burn It Down”), Bob Weston’s Traynor TS-50B, and a Samamp VAC 40 (which Steiner and Sagan call an “MVP guitar amp”). On the percussion side, Nuccio crafted a tambourine staff so he could shake five of them at the same time, and they sometimes tracked on crumpled-up tape for a warped feel.

Julia Steiner’s Gear

Guitars

Nepco V-style custom-built by Ian Williams

Lindert Locomotive T

Steve Albini’s EGC 500 (studio)

’60s Framus Texan

Eastman and Larrivée parlor guitars

Amps

Fender Blues Deville 410

Effects

Paul Cochrane Timmy overdrive

EarthQuaker Devices Tone Job EQ

Boss TU-2 chromatic tuner

Earthquaker Acapulco Gold (studio)

Interfax Harmonic Percolator (studio)

Strings & Picks

Ernie Ball Rock and Roll Classic .010s

No picks “except for super thin 50 mm picks on acoustic overdubs in studio”

Sean Neumann’s Gear

Basse

Fender American Standard Jazz Bass

Amps

Fender Super Bassman head

Fender Studio Bass head

Fender 1x15 cabinets

Effects

Mask Audio Electronics Civil Math

Darkglass Alpha Omega

MXR Carbon Copy

Boss TU-2 chromatic tuner

Picks

Dunlop Tortex 1.0 mm

Dave Sagan’s Gear

Guitars and Basses

Fernandes MIJ Strat copy

1976 Ibanez PF200

Amp

Music Man 212-HD One Thirty

Effects

Foxx Tone Machine fuzz clone

Badcat Siamese Drive overdrive

Electro-Harmonix Freeze

MAE Neck Brace phaser

Earthquaker Space Spiral delay

Earthquaker Ledges reverb

Boss TU-2 chromatic tuner

Benson Storkn Boks (studio)

Electronic Audio Experiments Dude Incredible (studio)

Boss DD-7 (studio)

Strings & Picks

Ernie Ball Rock and Roll Classic .011s

Dunlop Tortex .88 mm picks

Steiner’s main guitar is her Nepco V-style, a Danelectro-inspired 6-string electric built by Ian Williams in Des Moines, Iowa. Williams sourced the necks from a Danelectro factory in Korea, used masonite for the body material, and handwound the lipstick-style pickups himself. Steiner and Sagan also used Albini’s Electric Guitar Company aluminum-neck guitar (“The tuning pegs were so smooth, I felt like I was at a spa,” Steiner recalls with a grin. “It was such a privilege to play that instrument”), and Sagan even played Albini’s 16-string “guitar from hell,” on which each string is tuned to the same note. It makes an appearance on the mid-album meltdown “Light Night Mountains All That.” “The guitar does one thing, but it’s really satisfying, and you can make some very, very scary noises,” Sagan says. Benson’s Storkn Boks pedal, paired with an analog and then a digital delay, also came in handy for the cacophony conjured in “Light Night.” Albini’s iconic Interfax Harmonic Percolator was in the mix, too.

Steiner and Sagan are fans of gear that’s both vintage and “player-grade.” Sagan’s primary instrument is a Japan-made Fernandes Strat copy—he was trying guitars at a store one day, and the Fernandes was the best one he picked up. Another highlight is his Lindert Locomotive T, purchased from Atomic Music in Baltimore. The T-style has tweed finishing on the body that looks like a speaker grille, and a distinct thumbs-up headstock. One gets the sense that Sagan and Steiner could grab any plank of wood off a wall and coax something out of it that would expand Ratboys’ vocabulary.

That ethic of openness to the off-kilter and potentially weird seems, at this point, to be foundational for Ratboys. Steiner captures it perfectly on “Just Want You to Know the Truth,” a song addressed to an unnamed, estranged relation: “It’s not that I don’t miss you or the way it used to be / It’s that I can’t live my life without sayin’ anything.”

One of the many things that Willie Nelson and his trusty Martin nylon-string, Trigger, have in common is their truly unmistakable voices. And Willie’s laid back, behind-the-beat phrasing applies to both. To break it all down, we called on Ray Benson of Asleep at the Wheel. The two have been friends for a long time, and in 2009 they released the swinging Willie and the Wheel together. Benson tells us about what it’s like to work with Willie, what it’s like to play Trigger, and when he finally got to put his signature on the latter.

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Revoicing flat-top steel-string guitars is something I’ve practiced for decades. In the early days, once I discovered what scalloping was and how it affected tone, I began reaching inside instruments and carving braces in hopes of improving their sound. The problem was that I had no real idea what I was doing, no sense of targets, and certainly no clear understanding of purpose. Fortunately, I didn’t attempt this on many guitars, and never on anything of real value.

As time went on and I began building my own instruments, I developed the ability to tune tops through scalloping or tapering braces. This gave me valuable insight into what to look for when approaching revoicing later in my career. The process became more disciplined; it included setting air resonance, balancing top and back frequencies, and measuring deflections.

But the question remains: Should we even be revoicing guitars at all?

In the violin world, revoicing is standard practice. Instruments are designed to be disassembled and worked on, and re-graduating tops is one of the most common procedures performed on vintage violins, violas, and cellos. These repairs are done routinely, even on valuable vintage instruments, and often multiple times across their lifespans. This tradition also extends to historical pitch change, such as the move from A=340 Hz to A=440 Hz, where instruments had to be physically altered to remain functional. Violin makers are trained from the very beginning to understand instrument revoicing and the practice is widely accepted.

Flat-top steel-strings are different. We now have guitars, pre-war Martins in particular, that are considered the Stradivari of the flat-top world. These instruments already sound extraordinary, and carving on their braces would not only be unnecessary, but destructive. Still, not all guitars share this level of excellence even within vintage Martin examples. Over the years I’ve encountered many instruments that simply missed the mark, where the relationships between air, top, and back resonances were poorly balanced.

Take, for example, a Guild D-40 from the 1980s that recently came into my shop. Guilds of that era were well-built, sometimes even overbuilt. This particular guitar measured an air resonance of 101 Hz, a top resonance of 200 Hz, and a back resonance of 207 Hz. The problem was obvious: The top was so tight at 200 Hz it had restricted musicality, and its frequency nearly sat on top of the back, only separated by 7 Hz. Worse, the air resonance, at 101 Hz, was far too high for a large-body guitar, which typically falls around 95 Hz or lower.

This guitar was crying out for a revoice. My plan was simple: reshape and scallop the accessible braces on the top, drop the top resonance into the 170 Hz range, and allow the air resonance to settle near 95 Hz. Step by step, I carved, restrung, measured, and repeated until the targets were met. The top gradually dropped: first to 190 Hz, then 180 Hz, and finally 173 Hz. The air resonance followed, landing at 95 Hz. The results were dramatic. The instrument opened up, resonances began to couple, and its musicality increased significantly.

Of course, there are caveats. Any revoicing work voids a warranty, and on a new instrument that can be a serious consideration. In this case, the Guild was decades old, had changed hands multiple times, and carried no warranty concerns. More importantly, the guitar was so overbuilt that there was little danger in loosening the top.

So, what are the ethics of revoicing? Should you attempt it? The answer is clear: Unless you thoroughly understand resonance, frequency targets, deflection values, and how they interact, you should not. For those with the training and experience, however, revoicing can transform a lifeless guitar into something inspiring and enjoyable to play.

In restoration, the golden rule is to enter and exit an instrument without leaving a trace. But sometimes, as with this Guild, the only way forward is to make meaningful change. Done carefully, with respect for the instrument and for the physics of sound, revoicing is not only ethical; it can be a gift to both the guitar and its player.

Fralin Pickups has introduced a line of prewired control harnesses for upgrading your Gibson® Les Paul®, Les Paul Special, or Les Paul Studio.

Each premium prewired harness is built with Emerson® Premier Pro pots, plus USA-made foil-and-oil capacitors, for a smoother taper, consistent control response, and rock-solid reliability. Dial in your setup exactly how you want it—choose your wiring style, capacitor value, and optional push-pull mods—then drop it into your guitar with minimal soldering and maximum confidence.

Key features include:

• Build it your way: Customize your harness to your exact specs—wiring type, cap value, and more.
• Emerson® Premier Pro Pots: Chosen for an exceptionally smooth taper and dependable performance.
• Optional CTS® Push-Pull Pots: Add coil splits, phase options, series/parallel, or other wiring mods (depending on your pickup setup).
• Quick, clean install: Designed for a drop-in fit with minimal soldering required.
• Optional prewired toggle switch: Add a prewired switch to complete the harness and simplify installation even further.

Each Fralin prewired Les Paul harness carries a street price is $150.00. For more information visit fralinpickups.com.

I’ve always been drawn to the aesthetics of vintage guitar amplifiers. From the control panel details to the Tolex and grill cloth, the visual beauty of old electronics never fails to captivate. British amps in particular catch my eye. Historically, they have played an important role in the evolution of rock ’n’ roll music. Visually, they stand out with bold color schemes and funky textures. I’m thinking of amps from manufacturers like Vox, Selmer, and Orange.

There are a few key factors that sonically differentiate British vs. American guitar amplifiers. British amps often use EL34 or EL84 tubes in the output sections, whereas American amps typically use 6L6 or 6V6. In addition to the tube configuration, the supporting circuit design colors the guitar signal. British amps sound warm with emphasis on the mids, while American amps are clean and sparkly. Think of the Beatles’ saturated guitar tones vs. the twangy, sparkly surf guitar we hear on Dick Dale records.

One British amp that stands out comes from a company named Watkins. Charlie Watkins entered the audio manufacturing world in 1954, when he began producing guitar amplifiers, and later went on to design some iconic PA systems under the name WEM (Watkins Electric Music). One of the most fabulous amplifiers I’ve had on my bench for repair lately has been a Watkins Dominator.

The Watkins Dominator is notorious for its shape and color. The amp is V-shaped in the front, with a pair of 10" speakers angled outward. I believe the intention there was to have a broader spread of sound, and it certainly sets the amp apart. It sports bright turquoise Tolex with cream and gold accents. Many customers of mine have locked eyes on the Dominator as they scan the shop for goodies.

This amp is an early version of the Dominator, which was manufactured into the early 1960s. The best way to tell is the control panel design—earlier Dominators have a black panel with gold stripes. Using a pair of EL84 output tubes, the amp pumps out roughly 17 watts. It has 2 channels, with each channel featuring dedicated volume and tone controls. The second channel has depth and speed controls for the tremolo as well.

This particular amp had been refurbished with new electrolytic capacitors. The original Elac speakers had also been swapped out for Celestion G10s, which is considered an upgrade. Celestion speakers boast dynamic richness and enhance the nuances of the amp’s circuitry. The original Elac speakers are known for their clean headroom and hi-fi accuracy.

The amp needed a new power transformer, which I sourced from Mercury Magnetics. It is a universal power transformer, which means it can be wired up to be used for different input voltages in different countries. The original power transformer for this amp was set up for European 220–240V AC wall voltage. The replacement transformer can accommodate either the 100–120V AC for U.S. voltage or the original U.K. voltage.

The mounting of the power transformer in earlier Dominators is unusual. It’s installed upside-down on the underside of the angled chassis, with a wooden beam attached to the cabinet providing additional support.

Once the new power transformer was installed, I fired up the amp to give it a sound test. Immediately, I noticed how creamy and warm it sounds. The tremolo is surprisingly deep. I heard some intermittent crackling in the tremolo circuit and traced it to a faulty connection on one of the oscillator capacitors. Finally, there were some noticeable microphonics coming from the EL84 output tubes. I have a stockpile of matched NOS tubes, so I picked a lovely pair of Baldwin EL84s to use as a replacement.

The amp’s owner also wanted me to tweak the tone circuit to brighten things up. I don’t always take on modification requests, but in this case adjusting the tone circuit was minimally invasive. This change comes early on in the circuit, after the signal has gone through the first stage of amplification. I installed a 500 pF capacitor between the input and wiper of the volume control to enhance the top end of the guitar signal. This adds some sparkle to the top end and allows the guitar to cut through the mix a bit more.

The Watkins Dominator is not only a visual delight, but also offers some nice versatility for the guitar player. With luscious cleans at moderate volumes and growling distortion at high volumes, it does just about everything that folks look for in British amplifiers. It’s a great example of a well-made amp that can stand the test of time.