Premier Guitar

Synergy Amps today announced the release of the Marshall JMP Preamp Module, developed in partnership with Marshall Amplification. This all-tube, two channel module delivers the unmistakable growl, touch sensitivity, and dynamic response of the legendary JMP - now in a compact, modular format designed for today’s players.

From Eric Clapton and Jimi Hendrix to Jimmy Page, Eddie Van Halen, and Angus Young, the Marshall JMP amps have shaped the sound of rock for generations. With the new Synergy JMP module, guitarists can now harness that iconic Plexi tone at any volume, with the flexibility of Synergy’s modular system.

The JMP has always been about raw energy and expressive touch, and now players can access that authentic tone through the Synergy platform - without compromise.

The JMP module captures every nuance of the classic circuit with the following features:

• Dual 12AX7 preamp tubes for real-tube harmonics.
• Two independent channels with Volume 1, Volume 2, Bass, Middle, Treble, and Master controls.
• 1960s and 1970s voicing switches to replicate era-specific JMP tones.
• Four Bright switches to fine-tune treble response.
• Cathode Select switch for classic input tube configurations.
• An innovative “0-watt power amp” phase inverter design that replicates the feel and dynamics of a cranked Marshall head.

With the Synergy system, players can build their ultimate all-tube rig without sacrificing authenticity with modules from the world’s most coveted amp designers - Friedman, Soldano, Bogner, Fryette Engl, Diezel, Pavey, Dr. Z and now the most famous of them all – Marshall.

Pricing & Availability

The Synergy Marshall JMP Preamp Module is available beginning September 26, 2025, at an MSRP of $399.99.

For more information, visit www.synergyamps.com

The Rocker 15 & 32, Orange Amplifiers’ amps for all occasions, are now available as a special Limited Edition in eye-catching British Racing Green featuring CELESTION G10N-40 speakers. Each combo comes with a Certificate of Authenticity, signed by Cliff Cooper, CEO and Founder of Orange Amps.

Both the Rocker 15 & 32 are deceptively versatile combos, suitable for many different venues and countless music genres. They are small, portable, two channel bedroom-friendly, all-valve amps you can legitimately gig with.

The small, two channel, all-valve Rocker 15 features a CELESTION G10N-40 speaker and beefy transformers for a potent delivery, which takes full advantage of its EL84 output section. Capable of 0.5,1,7,or 15 Watts of output, the portable combo, with a miniature footprint, oozes warm compression and fat, full tone. The twin channel output features a twist; the Natural channel is a purist’s dream voiced to bring out the ‘natural’ sound of the instrument being played, while the more familiar Dirty Channel offers plenty of British crunch. Its full and half-power switch, combined with the bedroom and headroom switch, means it is a home friendly amp that can be legitimately gigged with. It is available in a strictly limited quantity of three hundred units, worldwide.

Full of classic Orange mojo, the true stereo Rocker 32 has been fitted with two CELESTION G10N-40 speakers for a well-balanced tone with satisfying, deep lows right through to a well-defined top end. Its clever circuitry gives the amp a wide sound spread, while the stereo effect loop opens up limitless possibilities and makes it the perfect pedalboard partner. In particular, the ‘wet/dry’ option allows guitarists to play their effects through one speaker and the clean guitar tone through the other. The Natural channel clearly articulates every nuance of all guitar, pickup and pedal combinations. It has plenty of clean headroom and loves to be hit with overdrive and distortion stomps. The Dirty Channel with its balanced three band EQ, gain and master volume controls, offers a multitude of different British crunch flavours. Plus, it can be set to clean too! The handy half power mode can switch the Rocker 32 from the full 30 Watts down to a home friendly 15 Watts. Only eighty units will be available worldwide.

To find out more about the special Limited Edition Rocker 15 & 32 in British Racing Green, please go to www.orangeamps.com.

ENGL Amplifiers proudly introduces the RAVAGER IR, a 20-watt, 2-channel tube amp that blends vintage tone with modern technology. Designed for musicians seeking a versatile, portable solution, the RAVAGER delivers exceptional sound quality in a compact lunchbox-style chassis.

The E725 RAVAGER use 12AX7/ECC83 in the preamp and EL84 in the poweramp section, producing dynamic, harmonically rich tones. Its dual-channel design provides pristine cleans and aggressive overdrive, making it ideal for stage, studio, or home use.

A key feature is its built-in IR Loader, enabling users to use four impulse responses (IRs), three of them can be loaded via USB for unparalleled cab simulation. This makes recording and silent practice effortless while delivering a professional sound. The amp is also equipped with an XLR output for live and studio applications, along with a headphone out for private practice. Additionally, the integrated Power Soak feature allows users to reduce output power for cranked tube tones at lower volumes, perfect for home or studio environments.

Key Features:

• 20W, 2-channel tube amp
• ECC83 preamp & EL84 power amp section for authentic tone
• Built-in IR Loader with four Irs (three customizable slots)
• USB connectivity for easy IR management
• Headphone output for silent practice
• XLR direct output for live and recording setups
• Integrated Power Soak for adjustable power (20 Watts, 5 Watts, 1 Watts, Speaker off) ∙ Compact, portable lunchbox design

The ENGL E725 RAVAGER is a powerhouse for modern guitarists who need a flexible, compact amp without compromising on tone. Whether performing live, tracking in the studio, or practicing at home, this amp offers professional-grade sound and features.

E412XXLK Eminence Karnivore

Engl unveils the new E412XXL with Eminence Karnivore speakers — a powerhouse 4x12"cabinet built to meet the demands of modern high-gain players. This updated version of the legendary E412XXL combines Engl’s precision-engineered oversized enclosure with the aggressive tonal character of the Eminence Karnivore speakers, delivering bone-crushing low end,razor-sharp attack, and exceptional clarity at high volumes.

Features

• Four Eminence Karnivore 12" Speakers
• Designed for modern metal and hard rock, offering tight bass, cutting mids, and controlled top end for maximum definition under high gain.
• Oversized Straight Cabinet Design
• Deep enclosure for massive low-frequency response and room-filling projection.
• High Power Handling
• 240-watt total power at 8 ohms, ready to handle the most powerful tube heads without breaking a sweat.
• Tour-Grade Construction
• Robust birch plywood build, reinforced corners, metal grille, and heavy-duty casters for reliable road use.
• Huge, crushing sound ideal for drop tunings and extended-range guitars ∙ Precise articulation at high volumes for tight rhythm work
• Designed from the ground up by Kristian Kohle and the Eminence engineering team, the Karnivore delivers all the bite and all the meat

Availability

The new E412XXL with Eminence Karnivore is available hrough authorized Engl dealers and distributors worldwide.

After their Covid-delayed, smash-success reunion tour a few years back, My Chemical Romance plotted the Long Live the Black Parade North American stadium tour this past summer.

PG’s Chris Kies joined the run at Soldier Field in Chicago, and before the show, he rendezvoused with techs James Bowman, Josh Schreibeis, and Joe Saucedo—who handle Frank Iero, Ray Toro and Mikey Way’s rigs, respectively—for a look at the axes, amps, and effects the heavy-hitting emo titans are using these days.

Brought to you by D’Addario.

Dose of Castedosa

After Iero got this Castedosa Marianna Semi Hollow, it became the show starter for this summer’s tour. This, and all other guitars, are tuned down a half step with Ernie Ball Paradigm strings (.011–.052).

Bury Me in White

Iero favors Ernie Ball StingRays like this one, in matte “Stormtrooper” white. The only mod on this guitar is the addition of Luminlay dots on the side of the neck.

One and Done

This 1992 Gibson Les Paul gets played only for the title track off the band’s 2006 record, The Black Parade.

Under Pressure

This tiny, light Abernethy Guitars electric takes Bowman forever to string. If anyone has tips, send them his way.

Purple Reign

After using Marshall Super Lead heads with the Dookie mod on the previous tour, Iero found these slick purple heads and brought them to Dave Friedman to match the Dookie specs and add some EQ tweaks. These two, a main and backup, are responsible for the bulk of Iero’s sounds.

A Fender Twin Reverb onstage is responsible for “small-amp sounds,” while a Twin Reverb Tone Master underneath it sends a clean DI signal for the mix in Iero’s in-ear monitors.

Welcome to the Rack Parade

Iero’s backstage rack includes three main racks of effects, all powered by Strymon Zumas.

The first carries a Mesa Boogie 5-Band Graphic EQ, Amaze by Analogman Prince of Tone, Bowman Audio Endeavors Bowman Overdrive, JHS Hard Drive, and Hayashi Craft Trick Gain.

Drawer two is about modulation, and includes a Boss TR-2, MXR Phase 100, Boss DM-2W, EarthQuaker Devices Ghost Echo, EHX Micro POG, and EHX Holy Grail.

The last drawer bears a Jackson Audio Twin Twelve, EHX Deluxe Memory Man, Ibanez Tube Screamer Overdrive Pro, and Bowman Audio Bellyacher.

Toro’s Top

Toro plays this 1978 Les Paul to start the show, including tracks “The End.,” “Dead!,” and “House of Wolves.” He runs .011–.052-gauge strings on all his guitars.

Second Fiddle

This sunburst Les Paul has been outpaced by the black ’78, but it still comes out for “Welcome to the Black Parade” and “Famous Last Words.”

Super 6

This 2005 Fender Custom Shop Telecaster sees action on six tunes in the band’s set.

Ray Toro’s Amps

A head combo of a Marshall JMP and Metropoulos Amplification Metro (both running into Fryette PS-100s) comprise Toro’s main tones, while an Amplified Nation Wonderland Overdrive 1x12 combo is used for solo sounds, and a Fender Deluxe Reverb handles cleans. Toro’s signal is pumped through two 4x12 cabs—one Marshall, one Bad Cat.

Ray’s Really Rockin’ Rack Rig

A Shure Axient wireless system sends his guitar’s signal to this system backstage, where it hits a Radial JX44 and a pair of RJM Effect Gizmos.

One drawer holds an MXR Duke of Tone, MXR Custom Badass ’78 Distortion, Boss GE-7, Boss CH-1, Kernom Moho, Kernom Ridge, and Wampler Gearbox.

In the next are two Boss GE-7s, two Bowman Overdrives, a Death by Audio Fuzz War, a Source Audio EQ2, a Bowman Bellyacher, and a Keeley Compressor Mini.

The third shelf is home to an EHX POG2, 1981 Inventions DRV, Chase Bliss Preamp MK II, Boss TR-2, MXR Carbon Copy, Keeley Loomer, and MXR EVH Phase 90.

A fourth level hosts a Strymon TimeLine, Strymon BigSky, and Source Audio EQ2.

Out onstage at his feet, Toro keeps a pedalboard with a TC Electronic PolyTune, a custom RJM Mastermind PBC/6X, Ibanez TS808, Bowman Audio Bowman Overdrive, EHX Micro POG, Boss TR-2, MXR Carbon Copy, and Strymon BigSky.

Strymon Zumas keep everything chugging along.

Comeback Kid

This silver-sparkle Fender Jazz bass was built for the band’s reunion tour, intended to mimic Way’s earlier signature model. It’s since been treated to more affordable Mexico-made production runs. Way runs Ernie Ball Hybrid Slinky strings (.045–.105) and plays with Clayton triangle picks.

Red!

This eye-catcher was made by Fender’s Brian Thrasher, and is equipped with pickups from the Adam Clayton signature bass. Way relies heavily on this one, then switches to an identical one for down tunings.

Dodger That

Way secured permission from Major League Baseball and the Los Angeles Dodgers to use the team’s exact hue of blue on this custom instrument.

Mikey Way’s Amp

Way runs through a Fender Super Bassman head into matching 8x10 cabs, with a DI signal also running to front of house.

Mikey Way’s Effects

Way keeps things simple. Along with an Origin Effects DCX Bass and Cali76 set to push his Super Bassman, his setup includes a pair of Aguilar Agros, an MXR Sub Octave Bass Fuzz, and a Malekko B:assmaster.

Rattlesnake® Cable Company, renowned for its high-quality, handcrafted instrument cables and audio gear, proudly announces the official launch ofits Custom Cable Looms. Designed for musicians, studios, and audio professionals, theselooms deliver an organized, reliable, and performance-ready solution that transforms theway rigs are set up and used.

What Is a Custom Cable Loom?

Rattlesnake’s Custom Cable Looms are handcrafted bundles that combine multiple cables intoa single, consolidated harness - tailored to the customer’s exact setup. Each loom is carefullymeasured, built, and wrapped in our signature rugged weave, ensuring clarity in the studio,confidence on stage, and unmatched durability.“Custom cable looms are about more than organization - they’re about elevating theprofessional experience for musicians and engineers,” said Hank Donovan, founder ofRattlesnake® Cable Company. “By streamlining setup, reducing clutter, and guaranteeingreliable connections, our looms give artists peace of mind so they can focus fully on their craft.”

Benefits of Rattlesnake® Custom Cable Looms:

• Efficiency & Speed – Faster setup and teardown with perfectly measured, consolidatedcables.
• Professional Presentation – Clean, organized rigs that look as good as they sound.
• Durability & Reliability – Premium U.S.-milled cables, hand-assembled in Missoula,Montana.
• Tailored Design – Each loom is built one at a time to match the customer’s exact rigneeds.
• Reduced Cable Clutter – Simplifies routing and reduces wear on gear.

Each loom is a collaboration between Rattlesnake and the customer, ensuring measurements and connections are designed specifically for their unique configuration. This personalized build process reinforces the company’s mission: craftsmanship at the core, confidence in every connection.

Availability

Rattlesnake® Custom Cable Looms are available now and can be ordered directly through the company’s website. Pricing is based on customer specifications, with consultations available for musicians and studios seeking the perfect solution.

View more and request your custom loom here: https://www.rattlesnakecables.com/custom-looms/

Stompboxtober is back for 2025! Come back all month long for your chance to WIN daily pedal giveaways. Today's giveaway is the Keeley MANIS Overdrive!

Stompboxtober 2025 - Win Pedals All Month Long!

Keeley Electronics MANIS Overdrive

The Keeley MANIS Overdrive is a bold evolution of the mythical transparent drive, blending NOS germanium transistors and diodes for unmatched warmth, compression, and grit. With switchable voicings and dynamic touch response, it’s a tone-sculpting weapon built for players who demand both clarity and rich harmonic character in one pedal.
Price : $199.00

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Welcome back for a special episode of Wong Notes! If you couldn’t make it to Cory’s Syncopated Summer Camp, this one’s for you: It features Wong and his Flyers bandmates—Nate Smith on drums, Joe Dart on bass, and Mark Lettieri on guitar—in a live masterclass recording from this summer, as they jam and break down an original composition.

The group starts off with a rowdy rip through the tune (which, apparently, didn’t go so well when they played it in Italy) before slowing down its constituent parts and highlighting Lettieri’s thoughtful arrangements. Each member of the band takes a turn explaining their approach to jamming and improvising—and how to know when trouble is coming. (For Smith, it’s when one player tries to “force an agenda.”)

The most important instrument for a successful jam and songwriting session? Your ears: It all comes back to listening. So listen in and learn with the best on this exclusive instalment.

Prog-Rock supergroup DarWin today release their anticipated new studio album, Distorted Mirror, via OoS/Phantom Recordings.

Distorted Mirror, which is co-produced by Simon Phillips and DarWin, is the follow up to last year’s hit release, Five Steps on the Sun, and picks up exactly where the last album left off. Offering original and creative rock songs that continue to break new ground, Distorted Mirror is a true journey, packed with intricate melodies, sledgehammer grooves and wall-to-wall virtuoso playing.

DarWin is an ongoing musical exploration led by songwriter/guitarist DarWin and drumming legend Simon Phillips (Toto, Jeff Beck, The Who, Judas Priest, Tears for Fears). Since forming in 2015, the duo has collaborated with lead vocalist Matt Bissonette (Joe Satriani, Ringo Starr, Elton John), bass sensation Mohini Dey (Steve Vai, Willow Smith, Guthrie Govan), guitarist Greg Howe (Michael Jackson, Protocol, Justin Timberlake) as well as a hall of fame roster of musicians over the years, including Derek Sherinian, Julian Pollack (J3PO), Jesse Siebenberg, Andy Timmons, Billy Sheehan, Guthrie Govan, and many more.

Over the span of the last several months the group have released a vast palette of captivating videos offering both conceptual and live performance as well as a series of guitar and drum playthrough clips that can be viewed HERE.

Watch the official music performance video for “Man vs. Machine” HERE.

An alternative conceptual cut of the “Man vs. Machine” video titled “Dawn of the Robots Version” is also available HERE.

Fans can also watch the official music video for the song “Rising Distortion” HERE.

The Distorted Mirror album tracklisting is as follows:

1. Rising Distortion
2. Distorted Mirror
3. Man vs. Machine
4. 33rd Century Man
5. Cry a River
6. Glow
7. Loophole
8. Winter Fare

Stream / Share / Purchase the album HERE

Orangewood Clementine: Not Your Average Semi-Hollow! | PG Plays

PG contributor Tom Butwin introduces the Clementine from ‪@orangewoodguitars‬, a semi-hollow guitar that blends classic style with modern functionality. It features a unique belly carve and a satin-finished mahogany neck for enhanced comfort and playability. Equipped with Seymour Duncan Seth Lover humbuckers and a coil split, the Clementine delivers a range of versatile tones. It also includes practical features like an accessible electronics panel and Grover Roto-Grip locking tuners, making it a reliable and easy-to-maintain instrument.

Shop the Clementine in three colors: https://orangewoodguitars.com/pages/c...

Fortin Kali Review

The aptly named Kali distills elements of the Fortin Cali—a Plexi-inspired amp—into a 2-channel pre-amp and distortion pedal. Each channel has three gain modes—vintage, raw, and saturation—which are selectable via a mini toggle. And each mode has a very distinct vibe, which could be loosely categorized as low-end-heavy, midrangey, and high-gain-centric, respectively.

Jimmy Herring: ARU, Panic, and Beyond | 100 Guitarists Podcast

This week, hosts Nick Millevoi and the shamelessly biased Jason Shadrick dive deep—much, much deeper than Nick ever imagined he would go—into the vast discography of the great Jimmy Herring. They enlist Rob Compa, formerly of Dopapod and now of Neighbor, whose greatest qualification is living in Burlington, Vermont, "the hub of all things jam bands".

Sowing in the Storm with "Ecstatic Black Metal" Band Agriculture

Los Angeles experimental metal band Agriculture’s new record, The Spiritual Sound, might not make sense to you at first listen. When the band sent the album to their friends, many of them were overwhelmed, if not weirded out. The band members weren’t surprised. “If I heard this record for the first time, I’d be pretty confused by it,” says guitarist and vocalist Dan Meyer.

Gear Finds: Pickups and Guitar Upgrades

Unlock your guitar's true potential with the Fralin Pickups Push-Pull Blender Pot! Blend tones, split coils, and explore endless sonic possibilities without permanent changes. Ready to elevate your sound? Check out the Joe Bonamassa Humbucker Set and more gear to keep your music alive!

Check Out This Pristine 1959 Les Paul Custom

It’s been a minute since we’ve gotten to share something truly special with you all, and today’s subject is one of the finest: a 1959 Gibson Les Paul Custom.

Gibson introduced the first Les Paul Customs in late 1953, following a couple of prototypes built for Les Paul a year earlier. Les wanted what he called a “more elegant” version of the Les Paul Standard, something that looked sharp on the booming new medium of television. His request was specific: a black guitar with refined appointments and design tweaks to match his playing style.

Latest News

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Nuno Bettencourt Launches Own Guitar Company, Nuno Guitars

Crazy Tube Circuits Announces Mirage JR

PG contributor Tom Butwin introduces the Clementine from ‪@orangewoodguitars‬, a semi-hollow guitar that blends classic style with modern functionality. It features a unique belly carve and a satin-finished mahogany neck for enhanced comfort and playability. Equipped with Seymour Duncan Seth Lover humbuckers and a coil split, the Clementine delivers a range of versatile tones. It also includes practical features like an accessible electronics panel and Grover Roto-Grip locking tuners, making it a reliable and easy-to-maintain instrument.

Shop the Clementine in three colors: https://orangewoodguitars.com/pages/c...

Today, Fender expands its Hammertone pedals series with two brand new pedals – the Hammertone™ Breakup Drive and Hammertone™ Boost. Built to be the essential building blocks of any board, the expansion of the Hammertone™ range offers players even more options to choose from – either used individually or stacked to suit any style and personality.

The brand new Hammertone™Breakup Drive provides responsive, tube-like overdrive tones with two clipping modes, giving players expansive control over their sound, while the Hammertone™Boost offers players the choice of cleanly boosting their solos or adding a warm, harmonic richness to their tone.

Hammertone™ Breakup Drive

($99.99 USD, £75.99 GBP, €89.99 EUR, $159.00 AUD)

The Hammertone™ Breakup Drive delivers responsive, tube-like overdrive tones in a compact, format. Built around a JFET-based circuit, it’s designed to replicate the dynamic feel of hot tubes pushed to the edge of saturation. Two selectable clipping modes let players dial in anything from light breakup to low-gain overdrive, each offering expressive responsiveness that cleans up with lighter picking and intensifies with more aggressive playing. An expansive tone control and a switchable pre-gain mid boost provide flexible frequency shaping to craft the perfect sound. Whether adding character to a clean tone or delivering touch-sensitive overdrive, the Hammertone Breakup Drive offers versatile performance for players who crave feel and nuance.

Hammertone™ Boost

($99.99 USD, £75.99 GBP, €89.99 EU, $159.00 AUD)

The Hammertone™ Boost elevates any rig with two distinct boost circuits housed in a single enclosure. Its Type switch allows players to choose between a clean, op amp-based boost for transparent volume enhancement and a JFET-based boost that adds warmth and harmonic richness, reminiscent of vintage tape unit preamps. With center-detented Treble and Bass controls, the EQ section offers easy access to a completely flat boost or precise tonal shaping—cutting or enhancing frequencies as needed. Whether used to cleanly boost solos, push an amp into breakup, or add subtle sweetness to a core tone, the Hammertone Boost delivers exceptional flexibility and performance.

The aptly named Kali distills elements of the Fortin Cali—a Plexi-inspired amp—into a 2-channel pre-amp and distortion pedal. Each channel has three gain modes—vintage, raw, and saturation—which are selectable via a mini toggle. And each mode has a very distinct vibe, which could be loosely categorized as low-end-heavy, midrangey, and high-gain-centric, respectively.

Charging right into Kali’s arms, I selected the vintage mode on Channel 1, and set the gain 2 knob to 9 o’clock. The gain 2 knob, which controls the gain level that hits the circuit’s front end, is the default gain knob for both channels. The gain 1 knob, which adds additional gain stages, only works on channel 2. But even at this modest setting, I was already into toothy distortion that was very touch-sensitive.

Wide Range of Rage

Without changing any other settings, things got significantly filthier by merely switching over to the saturation mode. And even at this lower-gain setting, the output is tailor-made for heavy rhythm in a classic metal jam. Pumping the gain 2 knob to around 3 o’clock, meanwhile, makes the Kali a very in-your-face proposition, with sounds rooted in Sunset Strip/Jose Arredondo Marshall-mod energy.

Interestingly, even though saturation mode has the most aggressive gain structure, it doesn’t feel especially compressed. It’s also the quietest of the three modes when tested across identical settings. This was especially noticeable when I switched between vintage and saturated modes at high gain 2 settings. It follows, then, that raw mode—the pure sound of the pedal without any extra gain stages and essentially the preamp only—is the loudest of the three modes.

Well Put Together, With a Bright Personality

Channel switching is handled by one of the two footswitches (the other

is for bypass) and it enables you to cascade one channel into another. In cascaded-stage mode, gain knob 1 is active and serves as a pre-gain (hence the gain 1 designation). In saturation mode, with both gain knobs at noon, switching between the channels sounds organic. Channel 2 is generally thicker and sustains bends for a tad longer. But the two channels definitely do not feel haphazardly thrown together. They are clearly cut from the same cloth.

“[It’s] a very in-your-face proposition, with sounds rooted in Sunset Strip/Jose Arredondo Marshall-mod energy."

In general, the Kali is bright, but if you need brighter, there are a pair of 3-position bright switches for each of the two channels. At low output volumes the changes offered by these bright switches are noticeable but not too dramatic. They are much more pronounced at high output volume. The active +/- EQ knobs actually have much greater impact on the Kali’s personality—particularly in the zones between 9 and 3 o’clock, where minor tweaks yield very different tonal realms.

The Verdict

The Kali comes across as a cohesive whole, yet its interactive controls and powerful EQ unlock a wide range of Plexi and modded-Plexi tones. No matter how you set it, it sounds impressive.

It was 2022. I had just moved across the country from Edmonton, Alberta, to Montreal, Quebec, and I was working a remote tech job that I didn’t like very much. Outside my home office, Montreal was just starting to poke its head out of the Covid lockdowns, and a small taste of its arts and music scene planted a seed in my brain. I had to find something better to do than that tech job.

I stumbled across the Mile End Guitar Coop while searching for guitar stores. But this was clearly something more interesting than just a retail shop; their website explained that this was a cooperative of independent guitar builders.

The first time that people set foot in the shop, they often stop at the door for a moment in awe. That’s exactly what I did. The first thing I noticed was that the shop smelled really good—like wood and coffee. All around were tools, stacks of wood, machines, and guitars in various stages of the building process. I was shown around by Nicholas Brygidyr of NGB Guitars, a former coop member, and Brett Hawes, a current member who runs Belvedere Instruments. Nick and Brett showed me how they wind custom pickups. I was fascinated!

On another visit, I talked to Josh Greenberg of Larkspur Lutherie. He showed me his gypsy-jazz guitars, some of the loudest, clearest acoustic guitars I’ve played. I was introduced to Nic Delisle of Island Instruments and held some of his retro-inspired electric guitars.

“One of the most valuable aspects of the Mile End Guitar Coop is the sharing of ideas.”

I also met the founders of the coop: Mike Kennedy of Michael Kennedy Guitars and Jeremy Clark of 52 Instruments. Mike and Jeremy told me how they started the coop in 2008 after apprenticing with renowned builder Sergei de Jonge; the coop was built partly to continue this long tradition of passing on experience to newcomers. While I was there, I watched Mike bend sides for a guitar. The smell of heat and steam through Indian rosewood was delicious, and something I remember to this day!

Over the course of the next several months, I learned how to build an acoustic guitar as Mike’s apprentice—an invaluable experience. Eventually, a spot opened up for me in the coop and I became a full member. Since then, I quit my tech job, and for the past couple of years, I’ve been building my own Ursa Instruments banjos and doing repairs for local musicians. I’ve got some guitar builds on the way, too!

I always dreamed of building instruments, but the barriers to entry seemed insurmountable. First, I would need to learn the craft. Then, I’d need to set up my own shop, pay rent, and buy machines and tools—all this before even thinking about where to find customers. I know I speak for all my shopmates when I say that without the support of the coop, most of us wouldn’t be able to do this.

We often get asked by other builders about the logistics of setting up a coop. We are legally designated as a cooperative, and we share many expenses, the largest being rent. But that’s just the legal side of things. One of the most valuable aspects of the Mile End Guitar Coop is the sharing of ideas. Despite the fact that we all have our own business, everyone is eager to share. Techniques are developed and spread around the shop. For instance, a method of laminating guitar sides known as “structured sides” was incubated in this shop. I believe I’m the first person to use this technique for banjo rims! I’ve also learned a lot about the testing of the acoustic properties of wood, mainly from Jeremy, who has developed a simple system of measuring the stiffness of guitar tops.

Another one of my mentors in the shop is Lenny Piroth-Robert of Daddy Mojo Instruments. Every aspect, from the wood, to the paint, to each knob, is chosen with an uncompromising eye. Lenny has also built a few electric banjos, and we’ve traded notes about banjo neck carving and setup. I’d also like to give a shoutout to my other shopmates: Morgan Deslongchamps (Deslongchamps Guitars), Oliver Duval-Quinn (Quinn Guitars), and Mathieu Dallaire-Walker (Dallaire-Walker Lutherie)—all doing world-class work.

Beyond just being a workshop, we also want the coop to facilitate music from local and travelling musicians. We host about one show each month in the shop. These shows are intimate affairs where everyone sits on the floor under lamplight and listens to an acoustic performance. We want the coop to be a community hub for musicians and builders.

The Mile End Guitar Coop is a very special place to myself, my shopmates, and the many people around the world who play our instruments. Next time you’re thinking about ordering a custom instrument, whether it be an acoustic guitar, classical guitar, banjo, or something else, consider one of us. Or, if you’re in Montreal, get in touch, and we’ll schedule a visit.

Give A Note Foundation, a 501(c)(3) organization dedicated to nurturing, growing, and strengthening music education opportunities, announced the MusicPro’26conference for professional and aspiring musical artists to take place March 27-29, 2026, at MusiciansInstitute in Hollywood. The event will feature learning sessions about achieving success in today’s music industry and provide artists with a unique opportunity to network with fellow musicians and leaders in the music industry. Founding sponsors include MusicPro Insurance, Pandora AMP, SoundExchange,BMI, PaulReed Smith Guitars, Pearl Musical Instrument Co., DistroKid, Bandzoogle, California State University Northridge, Let Music Fill My World, Musicpreneur Academy, Music Connection, Premier Guitar, andAmerican Songwriter, among others. A waiting list for attendees was activated today and can be found at musicpro26.com, with attendee badges going on sale on October 24, 2025.

“According to Luminate, 100,000 to 120,000 new songs are uploaded to streaming services every day, making the challenge of ‘breaking out’ harder than ever,” said Give A Note CEO Dendy Jarrett.“MusicPro’26, will give artists a chance to immerse themselves in the latest trends, discuss collaborations, and contemplate new strategies."

The Musicians Institute campus during spring break is the perfect site for such an endeavor, brimming with music and AV gear and the personnel to run it. With multiple state-of-the art recording studios, wired classrooms, multiple stages and private one-on-one consulting rooms, a music college becomes an extraordinary music meeting facility.

Attendees can expect a robust schedule of panel discussions, live interviews and keynotes, workshops, demonstrations ,performances and receptions announced periodically from October through March. MusicPro ’26 is produced by Westchester Media. Companies wishing to exhibit, create content and/or sponsor should reach out to Jake Martin at jmartin@intunepartners.com.

About Give A Note Foundation:

Give A Note Foundation is a national 501(c)(3) organization with a mission to engage and empower educators, inspire students, and expand the reach and impact of music education. Founded in 2011 with an initial investment from 21st Century Fox and TV show GLEE, and in cooperation with CMA Foundation,Radio Disney, and National Association for Music Education, Give A Note has awarded grants in excess of$1.5 million dollars. Give A Note delivers opportunities for students to become their best selves through learning and creating music. #MusicEdMatters. “Creating Better Humans Through Music."

Owning a guitar that was played by one of your musical heroes is a rare opportunity, made even more remarkable when the instrument’s sound lives up to its legacy. Joe Bonamassa has long been a fan of the late great Tommy Bolin, whose captivating solo music and work with Deep Purple, James Gang, Billy Cobham, and Zephyr influenced generations of rock & fusion guitarists.

The Seymour Duncan Custom Shop is proud to offer this special pickup set featuring:

• Precisely recreated original 1960 P.A.F. humbuckers analyzed by the Seymour Duncan Custom Shop
• Limited Edition First Run (500 sets) feature signatures from Joe Bonamassa and Seymour W. Duncan
• Alnico 2 Magnets deliver authentic vintage tonality with dynamic bridge and warm neck pickup characteristics
• Custom Aging process matches original pickups' authentic vintage appearance
• A portion of the Proceeds Support Tommy Bolin's Musical Legacy through dedicated endowment and memorial funds

MAP pricing:

Set: $375.00

When Joe met Tommy’s late brother Johnnie, he inquired about a very special 1960 Gibson® Les Paul® that Tommy had played throughout his career. The “Bolin Burst” Les Paul was originally purchased and owned by Tommy’s friend and long-time guitar tech David Brown and became his replacement after his own Les Paul goldtop was stolen at a Zephyr gig. The guitar features a unique American flag pickguard hand-painted by Brown in the early 70s. It was meant to be an American twist on the British Invasion’s Union Jack which was so prevalent in artwork at the time. A Fender-style Bigsby® vibrato was also pulled off a Telecaster® and fixed on the Les Paul at Tommy’s request to better suit his playing style. These modifications aside, it is acknowledged that the fine tone of this instrument came to a great extent from its original pickups: a very special set of P.A.F. humbuckers.

After an extensive 10-year search, Joe was able to locate and purchase this one-of-a-kind guitar from David Brown himself. Admiring the unique sonic qualities of this particular guitar, Joe approached his friends at Seymour Duncan to analyze in detail the P.A.F.s in order to create his newest pickup project. The Seymour Duncan Custom Shop was able to successfully recreate the iconic tone of the “Bolin Burst” pickups and Joe and the Bolin estate are now making them available to everyone.

The Joe Bonamassa “Bolin Burst” Humbucker set utilizes Alnico 2 magnets to replicate the original’s sweet vintage tonality. The bridge pickup provides a dynamic and barky sound, while the neck pickup sings with warmth and clarity - especially through your favorite overdriven amp.

Aged in the Seymour Duncan Custom Shop to match the look of the original pickups, the first 500 sets of the “Bolin Burst” Humbuckers are built with bottom plates signed by Joe and Seymour W. Duncan and are available in limited edition numbered packaging.

A portion of the proceeds from each “Bolin Burst” Humbucker set will be donated to the Tommy Bolin Endowment and Tommy Bolin Memorial Fund.

Legendary guitarist Nuno Bettencourt has announced the launch of Nuno Guitars, his own guitar company, marking a new chapter after more than 30 years with Washburn.

"I'm super excited to announce that today, this second, right now as we speak in real time, I'm launching my own guitar company," Bettencourt said in a video post to his official Instagram page. "Had a great run with Washburn, a good 35 years, I believe, which is pretty insane."

The Extreme guitarist emphasized that this move has been years in the making, driven by his desire to connect more intimately with the guitar community. "One of the main reasons is I wanted to be able to kind of deal directly with y'all, with guitar players and fans that purchase any of my guitars," he explained. "I wanted to kind of build this community now and be able to engage with you on a deeper and a closer level."

See on Instagram

Serving as both founder and CEO, Bettencourt is launching two new models—the Dark Horse and the White Stallion. These instruments represent what he calls "true workhorses" that reflect the same dedication he brings to his performances.

In a direct-to-consumer approach, the new venture will enable players to purchase the same guitars Nuno uses on stage and in the studio. Bettencourt could recently be seen playing the guitars onstage at Black Sabbath's Back to the Beginning benefit concert at Villa Park in Birmingham and at the 2025 MTV VMAs.

"Once you own a Nuno guitar, you are forever a part of my family," Bettencourt stated.

For more information, you can visit nunoguitars.com, though Bettencourt notes the website is still developing. The company is building everything in real time, with pre-ordering options coming soon.

For many, Wolfgang Van Halen will always be defined by his famous origin story. The son of guitar legend Eddie Van Halen and actress Valerie Bertinelli, he first banged out rhythms on stacks of magazines before moving to real drums. As a teenager, he unexpectedly became the spark for Van Halen’s mid-2000s reunion with David Lee Roth—a run that brought long-awaited, sold-out tours, a 2012 studio album, and a 2015 live release. The band’s time, however, ended when Eddie passed away in October 2020 after a long battle with cancer. In the years between their final tour and his father’s death, Wolf had quietly been crafting a solo album, which he set aside to spend more time with Eddie.

In time, Van Halen returned to the music he’d quietly begun before his father’s passing. In late 2020, he unveiled his debut single, “The Distance,” a heartfelt tribute to Eddie that introduced his Mammoth WVH project to the world. The album that followed was very much his own—he wrote the songs, sang, and played all the instruments. From there, he quickly established himself on his own terms. Four years later, he was riding high on the strength of two acclaimed albums, with his sophomore effort, Mammoth II, building on the promise of his lauded debut. Throughout that cycle, Wolfgang did it his way—opening for Metallica, Foo Fighters, Creed, and Slash featuring Myles Kennedy and the Conspirators, while also packing venues nationwide on his first proper U.S. headlining tour.

While things couldn’t have been going any better professionally, Van Halen slowly felt the angst of this budding success catching up to him. On a September 2024 flight to Mexico to close out his stadium run with Metallica, the multi-instrumentalist felt a strange pain suddenly take over his body. Then his vision started to blur, and he felt like he was going to vomit. He turned to his uncle, Patrick Bertinelli, one of the “trusted people” who goes on tour with him, swiped at his leg, and told him he didn’t feel well in the manner of a seven-year-old who had a tummy ache. Cold and drenched in sweat, Van Halen’s uncle put his hand on his head and said, “Yeah, you don’t feel good, man.” After what felt like hours in the airplane bathroom—but was really about 25 minutes—the sensation finally passed.

What was really going on was the culmination of nerves that ended up being all-encompassing. With Mexico City’s altitude nearing 7,000 feet, and having never set foot in the city before, Van Halen was worried about how he’d be able to sing in high elevation. It was also the final show of the Metallica jaunt, so he wanted to wrap things on a positive note. Add to that a lack of sleep before the flight, and thoughts spun around in his head until he became physically sick.

Today, sitting backstage in Rhode Island ahead of another arena-opening date for Creed, the road-weary Van Halen can’t help but chuckle at that confluence of events.

“It was my first panic attack,” Van Halen says. “I never felt my body betray itself so hard. On paper, I’m a very anxious person, but that was a whole other level.”

For Van Halen, the angst of that moment proved to be a harbinger of the stresses that surrounded the making of his new third studio album.

As he got to work on what was to become The End, Van Halen faced challenges beyond his control. For the better part of the past few years, the 34-year-old, along with longtime Van Halen family confidant and guitar tech Matt Bruck, painstakingly rebuilt 5150, the Los Angeles-area studio his father constructed and where every Van Halen album since 1984 had been recorded. The renovation was completed between Mammoth albums, making the recording process this time around far smoother and streamlining pre-production considerably.

While working on pre-production following the Metallica dates, Van Halen decided to make some changes, including rechristening the project Mammoth after securing the trademark to the name. Usually, Van Halen cooked up ideas on his laptop to hear them and see how they’d come together. In the rebuilt studio, fully operational to his standards, he could play a riff, run to the drums to track it, then hop over to the bass. This efficient setup allowed Van Halen, once again teaming with frequent collaborator Michael “Elvis” Baskette, to work much more smoothly. And, just like prior Mammoth albums, he played every instrument himself, calling it his “purest form of artistic expression.”

“When I was making Logic demos, the process of it bogged down the creativity,” he says. “It would take too long for me to get the drums that I wanted, so that I would give up, and the creativity would be lost.”

Now, armed with 5150 set up to his standards, the album came together quickly. Drawing from several unfinished ideas he’d carried over from previous writing sessions, Van Halen put a “fresh coat of paint” on them, setting off a creative chain reaction from which most of the ideas for The End emerged. He spent the next few months recording before heading back out on the road to play arenas with Creed.

“In comparison to how I was on the first album, which was very reserved, guitar-wise, I’m starting to worry less about what people think and what people say.”

In January, though, problems arose. Van Halen wasn’t immune to the anxiety that the wildfires destroying parts of Los Angeles caused among the city’s residents. Their proximity to 5150 was never far from his mind, looming as a menacing presence that threatened both the Van Halen home and, in turn, his studio. This tension, set against the backdrop of working on new music, underscored the lurking horrors of Mother Nature. “That’s where most of the anxious, doomsday energy in the lyrics comes from,” he says. “I couldn’t focus on my things.”

With not just his gear, but also his father’s, sitting in 5150, Van Halen knew how important it was to keep everything safe. He recalls a three-week period when Eddie’s iconic Frankenstein guitar sat in the backseat of his car, ready to go in case he had to evacuate with little time to spare.

“I thought, I’ll have Frankenstein and my wife, and we’re good,” he says. “And then we had a U-Haul filled with whatever else we felt was worth saving, which was very tough. Luckily, it didn’t come to that, but it was a traumatizing time we’re still working through.”

That tense energy from this period—the panic attack on top of the fear of losing his father’s remaining physical possessions—is reflected throughout The End. Lyrically, Mammoth songs have always been Van Halen’s outlet for processing anxiety, even when the exuberant melodies suggest otherwise. This album was no different.

Songs like the Foo Fighters-inspired “I Really Wanna” (where he addresses standing up to the bullies he’s faced over the years … and there’s a particular pointed line that sharp-eared listeners will catch) and “One of a Kind”—two of his favorites—came together smoothly thanks to the streamlined pre-production process. In fact, he says he wouldn’t have taken a chance on the “wacky” tempo changes in “One of a Kind” without it.

This didn’t mean the work was easy. Van Halen pushed himself as both a musician and vocalist, and laying down his vocals proved to be the toughest challenge yet. “I was uncomfortable a lot of the time,” he says of the process. But stepping out of his comfort zone—for example, on the bluesy “Better Off”—forced him to grow as a singer.

The End isn’t what its title implies. Instead, after finding his way on his first few albums, it’s a cohesive body of work that shows the depth and growth of Van Halen’s songwriting. Look no further than the title track, which opens with a tapped sequence reminiscent of you-know-who. (“It was fun to have that ear-catching moment,” he says.) It’s an idea Van Halen had been sitting for nearly a decade, just waiting for the perfect song where it would finally fit.

“I always thought it was a little over the top,” Van Halen says. “I thought of it as a challenge: ‘How can you make this the centerpiece of an idea, but still make a cohesive song around it?’ That was the songwriting challenge.”

It’s one that he aced. Throughout the song’s fun, in-your-face three-and-a-half minutes (listen closely, and there’s a nod to “Source of Infection” from OU812), Van Halen shreds with the confidence of a guitar wizard and the ease of a natural on what stands as The End’s leanest, meanest, most action-packed song. And speaking of action-packed, the accompanying video was directed by none other than legendary “Mariachi-style” filmmaker Robert Rodriguez.

A longtime fan of Rodriguez (Van Halen cites From Dusk to Dawn and Spy Kids as favorites), the two met at a show on the Mammoth II tour in the director’s hometown of Austin. The thought of Rodriguez directing a Mammoth video felt like a “pie-in-the-sky dream.” After playing demos of the new material for the filmmaker, Van Halen worked up the courage to ask Rodriguez if he’d be up for it, and he was intrigued. When Van Halen sent him the completed version of “The End,” Rodriguez came on board, bringing effects guru Greg Nicotero along with him.

“I never felt my body betray itself so hard. On paper, I’m a very anxious person, but that was a whole other level.”

“The amount of talent being utilized for such a silly thing just blew my mind,” Van Halen says of the zombie-themed video, which includes cameos from actor Danny Trejo, Slash, Myles Kennedy, and Valerie Bertinelli. “It was so fun … it was happy, with smiles throughout the whole shoot.”

At its core, The End is a balanced, guitar-driven album. Although Van Halen still considers himself a drummer—the first instrument he ever played—his guitar work has matured, and he sounds more confident than ever. There are flashes of virtuosity, as on the title track, but overall, he focuses on what best serves each composition.

“In comparison to how I was on the first album, which was very reserved, guitar-wise, I’m starting to worry less about what people think and what people say,” Van Halen explains. While The End, he says, “may be a bit reserved compared to Mammoth II, it feels more balanced this time around. It has a rawer vibe, and I was happy to keep the rough edges for people to feel like they’re in the studio with me.”

“There are a lot of expectations around me—so many preconceived ideas that it feels impossible for anyone to have a neutral opinion.”

With The End, Van Halen takes a reflective look inside. After years of having millions of fans watch him since he was barely able to drive, he’s finally comfortable with his place in music. So much so that it’s allowed him the vision to start looking further down the road. While recording The End was fruitful, four remaining song ideas weren’t fleshed out. Those could serve as the foundation to a fourth album, one that Van Halen notes that even without writing new material, he’d have plenty in the bank to draw from. By merging the old and new, he can turn a simple idea into something that feels more alive—a mantra he carries into every Mammoth session.

“There are a lot of expectations around me—so many preconceived ideas that it feels impossible for anyone to have a neutral opinion,” he says. “From the beginning, I’ve tried to stand out as my own person, without all of the bullshit that comes with the name and the controversies and everything that's come before me. It's just nice to be able to be judged for the music itself, rather than what people think or say about me.”

When reminded that some of his peers—musicians he admired as a young player—are now among rock’s biggest names, Van Halen quickly retorts that most people still see him as a kid. Some, he jokes, will never see him as anything more than that.

“That’s the tough thing!” he says with a laugh. “I feel like I'm gonna be a kid until I’m an old man. I’m never going to be just a guy. Like, I just want to be a guy.”

Wolfgang Van Halen’s Gear

Guitars and Basses

EVH SA-126 goldtop (SA-126 Tim Shaw pickups)

EVH SA-126 Pink finish (SA-126 Tim Shaw pickups)

Prototype Wolfgang 4-string

Amp

EVH 5150III 50 Watt (6L6) (“NOEL”) w/ EVH 5150III 4x12 cabinet

Effects

Dunlop MXR EVH Phase 90

Dunlop MXR EVH Flanger

Dunlop Cry Baby EVH wah

Dunlop MXR Micro Flanger

Dunlop MXR Micro Chorus

Dunlop MXR Sub Machine

Dunlop MXR Uni-VibeDunlop MXR Uni-Vibe

ZVEX Woolly Mammoth Vexter

Electro-Harmonix Micro Synthesizer (vintage)

Electro-Harmonix Small Clone

EarthQuaker Devices Hoof Reaper

Ceriatone Centura

DigiTech DOD Envelope Filter 440

Boss RE-202 Space Echo

Boss OC-3 Super Octave

Boss RV-6 Reverb

Boss CE-5 Chorus Ensemble

Guild Brian May boost

Strings, Picks, and Accessories

Dunlop Max-Grip .60mm

EVH .010–.049

EVH cables

Crazy Tube Circuits are proud to introduce the Mirage JR, a streamlined version of the Mirage dual-engine reverb.

Engineered with the same studio-grade processing power as its big brother, Mirage JR delivers the lush, detailed soundscapes in a more compact, pedalboard-friendly design. Featuring a curated selection of 16 immersive reverb algorithms that cover everything from authentic room and spring emulations to expansive ambient textures.

Mirage JR is a compact reverb powerhouse that delivers all the creative range of its big sibling in a streamlined, single-engine mono format. It offers the same studio grade processing, intuitive layout, and algorithm selection.

Built for guitarists, bassists, synth players, and ambient creators who want maximum sound without complexity. Whether you’re chasing vintage plate tones, cinematic shimmer, or frozen walls of reverb, Mirage JR brings it all together in one expressive unit.

The reverb engine runs any of 16 carefully crafted reverb algorithms, organized into two banks of natural, familiar spaces or modern and experimental territories. Four dedicated knobs and two expression controls enable powerful real time interactions, from expressive shimmer bursts and freeze triggers to evolving modulated textures.

Despite its compact footprint, Mirage JR gives you plenty to show off, visually, sonically, and practically. It shines as a mono front end spatial effect, but it’s equally at home in pedal switchers, synth setups, or even as a send effect in the studio, bringing the magic of the original Mirage to any rig.

Street price $249
For more information visit www.crazytubecircuits.com/mirage-jr

For nearly five decades, Spector has been synonymous with innovation, craftsmanship, and the unmistakable tone that has shaped the sound of modern bass. Today, Spector unveils the next evolution in the storied lineage: the NS Icon Bolt-On series.

The NS Icon Bolt-On brings the revered NS design into a bold new era. Designed by the expert luthiers at the Spector Custom Shop in Woodstock, NY, this new series captures the essence of the flagship instruments while offering a fresh take for today’s player. With its fully carved body, premium tonewoods, and professional-grade hardware, the NS Icon Bolt-On delivers the iconic Spector feel and tone in a bolt-on format.

Each NS Icon Bolt-On features a resonant Alder body paired with a bolt-on 3-piece rock maple neck and a smooth rosewood fingerboard—tonewoods that have defined Spector’s sonic signature for generations. The body’s fully curved contour ensures unmatched comfort and playability, while the neck profile, nut width, and fingerboard radius are meticulously crafted to meet the standards of our Custom Shop.

“The NS Icon Bolt-On brings the essence of Spector to more players than ever before. We took everything players have loved about USA built NS basses for nearly 50 years and combined them with a classic Bolt-On construction to achieve a playing experience that is both immediately recognizable and unique at the same time. The introduction of the NS Icon Bolt-On is the next step on our journey of bringing the best that Spector has to offer to bass players at every level.” - Wil DeYoung – Spector Custom Shop Manager

Available in both 4-string and 5-string configurations, players can choose from two solid gloss finishes: Black and White, or two stunning stain finishes: Black Cherry and Black Stain, each adorned with a highly figured quilted maple top. Gold hardware, signature Crown inlays, a polished brass nut, and a fully intonating locking bridge complete the look.

At the heart of the NS Icon Bolt-On is a custom-voiced electronics package developed in collaboration with Aguilar. The 4-string model features a Reverse P and J pickup configuration, while the 5-string boasts dual Soapbar pickups. Paired with the Aguilar OBP-2 preamp, these pickups deliver the deep, articulate lows and crystal-clear highs that define the Spector sound—now with even greater versatility.

To learn more about the NS Icon Bolt-On please visit www.spectorbass.com

Street Price: $1199.99 USD NS-4 Icon

$1299.99 USD NS-5 Icon

Levy’s Music has introduced two new guitar strap series designed to capture attention in the dark and tap into the mystic. The Clairvoyant Series and Night Life Series blend visual storytelling with performance-ready functionality, expanding the Levy’s collection with bold new designs for expressive players.

The Night Life Series features black leather straps embroidered with spider webs, lightning bolts, and moon-and-star motifs that glow in the dark after charging under light. Built from soft garment leather and sized for comfort during long sets, the straps are designed to deliver a showstopping look without compromising durability.

The Clairvoyant Series explores supernatural symbolism through printed poly straps inspired by tarot cards, Ouija boards, and the protective gaze of the evil eye. Each design brings an otherworldly aesthetic to the stage while offering practical features like genuine leather ends and adjustable length for versatile use. Both series are handcrafted in Nova Scotia and available now through authorized Levy’s dealers and distributors.

Levy’s is expanding its holiday-themed Christmas Strap Series with two new designs: the Plaid Christmas Strap and the Ugly Christmas Sweater Strap. Both styles join the existing seasonal lineup and bring fresh holiday personality to Levy’s’ growing collection of print straps.

Handcrafted in Nova Scotia, Canada, each strap delivers the comfort and quality Levy’s is known for while embracing playful, festive visuals. The Plaid Christmas Strap features a classic red and green tartan pattern, while the Ugly Christmas Sweater Strap leans into bold, sweater-inspired graphics that celebrate the lighter side of the season.

Both straps are constructed with standard series materials, including a polyester body and genuine leather ends, and adjust from 35.25 to 60.5 inches to suit a variety of playing styles and instruments. To learn more about Levy’s guitar straps and music accessories, visit www.levysleathers.com.