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ESP Guitars (NAMM Booth 210D) is debuting 10 new additions to the LTD Series’ “400 Range.” These new guitars are designed for players who want excellent value along with pro-tier components, extraordinary playability, and excellent build quality.

The LTD Arrow-400 is a bold, angular V-shaped guitar. Available in Charcoal Metallic and Scarlet Metallic finishes, its features include set-neck construction at 25.5” scale, a maple neck, rosewood fingerboard, mahogany body, black binding on the neck and headstock, a Floyd Rose Special double-locking tremolo bridge, Grover tuners, and a set of EMG 81 (bridge) and EMG 85 (neck) active pickups.

The LTD EC-400QM is available in See Thru Black Sunburst and Vintage Burst finishes. This single-cutaway guitar shape features set-thru construction at 24.75” scale, a quilted maple top, white binding on the body, neck, and headstock, and a rosewood fingerboard. Its components include a TOM-style bridge and tailpiece, and a set of EMG 81 (bridge) and EMG 85 (neck) active pickups.

Being offered in Charcoal Metallic and Scarlet Metallic finishes, the LTD M-400HT takes the flat-topped ESP M/Mirage shape and offers it with bolt-on construction at 25.5” scale, with mahogany body, roasted maple neck, rosewood fingerboard, single-ply black binding, LTD locking tuners, LTD fixed hardtail bridge with string-thru-body, and a set of EMG 81 (bridge) and EMG 85 (neck) active pickups.

The LTD MH-400HT QM See Thru Black Sunburst offers an arched quilted maple top, set-thru construction at 25.5” scale, a reversed headstock with matching finish, LTD locking tuners, LTD fixed bridge with string-thru body, and a set of EMG 81 (bridge) and EMG 85 (neck) active pickups. The LTD MH-400 Snow White has an arch-topped mahogany body, rosewood fingerboard, reversed matching-finish headstock, a Floyd Rose Special tremolo, and a set of EMG 81 (bridge) and EMG 85 (neck) active pickups.

A new LTD shape is also available in the 400 Range. The LTD TH-400 (available in Charcoal Metallic and Scarlet Metallic) is built with bolt-on construction at 25.5” scale, with a mahogany body, roasted maple neck, and rosewood fingerboard. Components include an LTD fixed hardtail bridge with string-thru-body, LTD locking tuners, and a set of EMG 81 (bridge) and EMG 85 (neck) active pickups.

More information on ESP Guitars and the LTD Series is available on the ESP web site at www.espguitars.com.

Takamine Guitars (NAMM Booth 210D) has announced two new additions to their popular line of travel-sized guitars known as Taka-Minis. The GP3HSE and GX31CE made their debut at the 2026 NAMM Show.

“Both of the new Taka-Mini models are more than they appear at first glance,” says Tom Watters, Director of Product Development for Takamine Guitars. “The GP3HSE is designed for high-strung Nashville tuning, while the GX31CE represents a higher-quality solution in a compact and convenient size. Both of these value-packed guitars are very appropriate for use by pro players in recording and live performance.”

The Takamine G Series GP3HSE is a 3/4-sized guitar (22.4” scale length) with the shape and full body depth of a dreadnought. Its pro features include a solid spruce top and sapele back and sides, with a laurel fingerboard, multi-binding on the front and back of the body, and Takamine’s TP-3G electronics with 3-band EQ, volume, and a built-in chromatic tuner. Available in Natural Satin finish with gold hardware, the GP3HSE comes factory-strung with the high-strings from a 12-string set — known as Nashville tuning — delivering the signature shimmering tone that adds depth and sparkle to performances.

The Takamine G Series GX31CE is designed for exceptional portability without compromising Takamine’s renowned tone. This compact model — using Takamine’s popular NEX cutaway body shape — features custom-designed bracing, along with a solid spruce top and mahogany back and sides. It delivers exceptional projection and clarity for a smaller (22.4” scale length) instrument, and includes pro features like multi-binding on the front and back of the body, gold hardware, and Takamine’s TP-3G electronics with 3-band EQ, volume, and a built-in chromatic tuner. Available in Natural Satin finish, the GX31CE also comes with a convenient GBXM gig bag.

More information and detailed specs on the latest additions to Takamine’s G Series is available at www.esptakamine.com.

Reverend Guitars is introducing the Air series for 2026, featuring four new semi-hollow models in the Charger, Kingbolt, and Roundhouse lines. Each one is built for classic tone, modern playability, and standout looks.

Each Reverend Air model is constructed with a solid mahogany back, routed to yield a full-length center block. This is topped with maple (Roundhouse Air) or spruce (Charger Air and Kingbolt Air). The mahogany locks in warm midrange and sustain, while the maple or spruce tops add complementary harmonics and shimmer. The highly resonant semi-hollow design is ideal for those seeking warm, rich cleans, dynamic overdrive tones, and controllable feedback.

The Reverend Air models feature the new Steelhead Series pickups, which include humbuckers and hum-cancelling P90s with oversized steel poles. Designed by Joe Naylor, these pickups deliver a punchy, dynamic sound. The lineup includes the Charger Air HH, Kingbolt Air HH, Kingbolt Air 390, and Roundhouse Air HH.

Bold new top colors create a modern yet classic look, and transparent brown backs add a touch of class. Reverend’s signature Shooting Star f-holes adorn the top. New headstock model logos complete the concept.

Reverend Air models blend modern craftsmanship with classic style, offering the high performance and timeless look that Reverend Guitars is known for.

The Reverend Air Series is currently shipping to Reverend Authorized Dealers.

ESP Guitars (NAMM Booth 210D) debuted eight new models in their acclaimed Signature Series. These guitars are based on the ESP Custom instruments created in conjunction with some of the world’s most acclaimed musicians.

“ESP’s Signature Series offers something for everyone,” says Tony Rauser, ESP Director of Artist Relations. “The artists who play these guitars are among the world’s most respected guitarists, and their Signature guitars allow people the opportunity to use the same instruments they’ve seen played in front of thousands of people on stage and heard on some of the most acclaimed albums of all time.”

To commemorate the 20-year milestone anniversary of ESP’s relationship with the late Alexi Laiho, respected and influential frontman and lead guitarist in Finnish melodic death metal masters Children of Bodom, two new Signature Series guitars were announced at NAMM 2026. The LTD Alexi Laiho Arrowhead SE 20th Anniversary (Black w/Yellow Bevels) and the LTD Alexi Laiho Sawtooth SE 20th Anniversary (Black w/White Pinstripes) both use the offset V-shape for which the guitarist was well known. Features on these Signature guitars include neck-thru-body construction at 25.5” scale, a Macassar ebony fingerboard (scalloped from frets 19-24), satin-finished neck, Grover tuners, a double-locking Floyd Rose 1000 bridge, and a single EMG HZ F-H2 passive pickup with volume control.

The long-awaited Signature Series guitar for Joe Duplantier, the founding member, songwriter, and producer of French heavy metal icons Gojira, made its debut at NAMM 2026. The LTD JD-I offers a uniquely modified take on the offset XJ shape, and features bolt-on construction at 25.5” scale, a three-piece roasted maple neck with Macassar ebony fingerboard, pearloid block inlays, and 22 extra-jumbo stainless steel frets, a Hipshot Tone-a-Matic bridge and tailpiece, a Graphtech TUSQ nut, and Joe’s signature DiMarzio JD Fortitude passive humbucking pickup.

Another new Signature guitar was announced for George Lynch, whose distinctive Kamikaze guitar, released in 1985, was one of the first-ever ESP Signature models. The LTD GL-200 Kami is a streamlined version of the instrument in a solid Black finish, but retaining recognizable design elements like the “hockey stick” reverse headstock. Other features include a basswood body, a Floyd Rose Special double-locking tremolo bridge, and a set of ESP LH-150B (bridge) humbucker and an ESP LS-120 passive single coil pickups in the neck position.

Joining the ESP Signature artist family for 2026 is Jack Simmons, guitarist and music composer for international deathcore icons Slaughter to Prevail. The LTD JS-7 Baritone features a V-shaped body, neck-thru-body construction at 27” scale, 24 extra-jumbo stainless steel frets, a 48mm Graphtec TUSQ XL nut, a Hipshot 7 hardtail bridge with string-thru-body, and a single direct-mount Fishman Open Core Modern 3-Voice humbucker active pickup.

The late iconic thrash metal guitar god from Slayer, Jeff Hanneman, has a new addition to his Signature Series with the LTD JH-200 CTM. This guitar, priced for accessibility to the legions of Slayer fans, features bolt-on construction, excellent access to the highest frets, an alder body, red star position marker inlays, a Floyd Rose Special double-locking tremolo bridge, and a set of high-output ESP LH-301 humbucking pickups.

Updated for 2026 with a new Black Satin finish, the LTD MT-I is the Signature Series guitar for Mick Thomson, highly respected guitarist of Slipknot. The MT-I features set-thru construction at 25.5” scale, mahogany body with white ash top, 24 medium-jumbo stainless steel frets, a Graph Tech Black TUSQ XL nut, Hipshot Grip-Lock locking open gear tuners, an all-brass Hipshot Hi-Mass hardtail bridge, blue Luminlay side markers, and a Fishman Fluence Mick Thomson Signature pickup with a 3-way low profile toggle switch to select between voices.

Finally, a new finish is available for one of the best-selling Signature Series guitars of all time. Now available in Magenta finish with gold hardware, the LTD SC-607 Baritone is a Signature guitar of Stephen Carpenter, the influential co-founder of California-based alt-metal gurus Deftones. This new finish and design scheme is based off one of Stef’s beloved personal ESP Custom Shop guitars, and its features include seven strings, neck-thru-body construction at 27” scale, a TonePros locking TOM-style bridge with string-thru-body, and a set of Stephen’s own Fishman Fluence SRC Signature 3-Voice pickups.

More information on ESP Guitars and the ESP/LTD Signature Series is available on the ESP web site at www.espguitars.com.

Reverend Guitars unveils the new Kingbolt Series guitars for 2026. Part of a complete line makeover, the Kingbolt Series represents seven new upgraded models. Reworked cutaways provide improved upper-fret access. Body thickness has been reduced, yielding lighter weight, improved comfort, and tighter low end.

The Kingbolt H90, H290, HH, and 390 now feature Reverend’s new Steelhead pickups. These pickups feature oversized steel pole pieces for a highly responsive, punchy tone. A Wilkinson WVS50IIK bridge comes standard on all Kingbolt models. It is celebrated for its tone, durability, and tuning stability. The Kingbolt H90 FR features a Floyd Rose and a Railhammer Alnico pickup at the bridge, making it perfect for those seeking extreme whammy madness. The Reverend Kingbolt F-Sonic delivers semi-hollow resonance in a solid body with a pair of Railhammer pickups. Topped off with Reverend’s signature Shooting Star f-holes, it delivers a unique blend of style and sound.

Bold new top colors pair with a sleek body shape to create a clean yet aggressive look. Transparent brown backs add a touch of high class. A new Kingbolt headstock logo completes the concept. The Reverend Kingbolt Series guitars are modern with classic sensibility. They offer the high performance and timeless style you expect from Reverend Guitars.

The Reverend Kingbolt Series is currently shipping to Reverend Authorized Dealers.

Expanding on the company’s iconic line of tube-driven guitar amps, Magnatone has introduced four new models at the NAMM Show in Anaheim:

• Kingston and Starlite Reverb 10 – two new entries in the company’s Traditional Collection
• Varsity Reverb – the debut model in Magnatone’s new Point-to-Point Collection
• Lil’ Viper – a stunning addition to the company’s Slash Collection

Leading the pack is the Kingston, a brand new, yet familiar voice, to the Traditional Collection. It’s a boutique amp hand-built and made in the USA that’s destined to become the premiere go-to workhorse amp for the stage or studio.

It delivers that classic and familiar American amp tone, with the legendary Magnatone voice. The Kingston was designed without compromise, offering the tone and character that cements its place among amp royalty.

Designed to be the classic studio and small-gig amp, the Kingston delivers plenty of power for live club performances while also being perfect for recording sessions and home use. Its clean, responsive voice gives players that sought-after creamy yet bouncy tone that stays clear, articulate and musical across all volume spectrums.

The Kingston was developed through a collaboration with Obeid Khan, Magnatone’s Chief Engineer, and Larry Cragg, longtime guitar technician for Neil Young, to be a tonally vintage vibe amplifier in a compact size, but with a big sound pros can rely on.

Larry Cragg says, “The Kingston takes your amp from the bedroom to the stage.”

The Kingston features High and Low sensitivity 1/4” inputs, a simple configuration of Volume, Treble, Bass, and Reverb controls, with Accutronics Digi-Log spring-style reverb. Powered by two 12AX7 preamp tubes and two 6V6 power tubes, the Kingston produces 12 watts of push-pull output through a Magnatone Custom 12” ceramic magnet speaker. Additional features include footswitchable reverb on/off, an external speaker output, and a 1/4” line out for expanded stage and studio flexibility.

As with all Magnatone amps, the Kingston is hand-wired and made in the USA. It’s finished in Magnatone’s Traditional Collection cosmetics and available in 100% cotton Traditional Brown, Camel, Dark Green, and Traditional Black covering.

Ted Kornblum, President & CEO of Magnatone, says, “The Kingston fills the perfect niche for players who want a truly classic American sound that’s reliable, rugged and ready to take anywhere.”

The Magnatone Kingston carries a street price of $2,349.

Next up is another entry in Magnatone’s Traditional Collection, the Starlite Reverb 10, a sweet-sounding, much-in-demand update of the original “grab and go” Starlite. This new evolution features a larger speaker, increased output, and a more lush, full sound - all still in a small footprint.

“The upgrades we designed include a 6L6 power tube for the 8 watts of Class A single-ended power and the 10-inch speaker in a slightly larger cabinet,” explains Obeid Khan, Magnatone’s Chief Engineer. “These two changes alone make a big sonic difference in tone clarity, volume, projection, and overall performance.” Khan says the amp keeps its Accutronics Digi-Log spring-style reverb, Traditional cosmetics, and compact footprint, making it “a nice little bedroom-office-study-studio amp.”

Like all Magnatone amps, the Starlite Reverb 10 is all hand-made in the USA and features one 12AX7 preamp tube and one 6L6 power tube, giving players 8 watts of Class A output through a Magnatone Custom 10” ceramic magnet speaker. Additional features include High and Low sensitivity inputs, an innovative tone control which spans “black-panel” and “tweed-era” voicings with a mid-cut below 12 o’clock, switchable negative feedback and an 8-ohm extension speaker output. Vintage-inspired Traditional Collection cosmetics highlight and accent the Starlite Reverb 10 in the same way that made the original model a true in-demand favorite.

Ted Kornblum, President and CEO of Magnatone, says, “Our customers love the Starlite’s vibe and performance of being ‘the-little-amp-that-could,’ and now it’s the ‘little-amp-that-can.’ I’m proud to say that we’ve delivered it.”

The Starlite Reverb 10 is available in 100% cotton Traditional Brown, Camel, Dark Green, and Traditional Black covering, carries a street price of $1,899.

The third amp introduced at NAMM is the debut model in Magnatone’s new Point-to-Point Collection, a limited-edition of hand-built amplifiers, made in the USA, featuring vintage-styling and point-to-point hand wiring and limited to a quantity of 50 units worldwide. The collection launches with the Varsity Reverb, now featuring point-to-point craftsmanship, and replaces the Traditional Collection version.

Each amp is meticulously hand-built in small batches using true point-to-point wiring technique that’s expertly made by Magnatone’s master builders.

“While all Magnatone amps are truly hand-built and made in the USA, the Varsity Reverb represents a return to old-school craftsmanship and artistry,” says Obeid Khan, Magnatone's Chief Engineer.

Designed for professional musicians, the Varsity Reverb delivers exceptional clarity, depth and touch sensitivity. Its Class A circuitry provides rich harmonic detail and responsiveness for players seeking amazing tone and superb build quality in a single amplifier.

The Varsity Reverb has already seen rugged, real-world use with some of today’s most respected guitarists. Charlie Sexton says, “I’ve used this amp on the road for years and it sounds as good as it looks.” Jeff Beck, Kenny Greenberg, and Sam Morrow have used this amp on tour and in the studio.

Ted Kornblum, President & CEO of Magnatone, says, “The quality and attention to detail in this model have never been higher, and we’re proud to showcase the craft of point-to-point amp building.”

The Varsity Reverb features 15 watts of Class A power, driven by two 12AX7 pre-amp tubes, one 12DW7 tube, two EL84 power tubes, and a GZ34 rectifier tube, and paired with a Magnatone Custom 12” ceramic magnet speaker. Additional features include authentic tube-driven long-pan reverb (footswitchable) with four counter-wound springs, high and low sensitivity inputs, and a feedback boost switch. The amp features 100% cotton Cathedral Black or Cathedral Burgundy covering, with a hand-tooled saddle-leather handle.

The Magnatone Varsity Reverb in the Point-to-Point Collection carries a MAP of $3,299.

The fourth new amp at NAMM is a special one: Magnatone has introduced the Lil’ Viper – the latest member of the Slash Collection. It’s a lightweight amp designed to deliver a remarkably big tone. Developed with Slash, the Lil’ Viper packs its unmistakable Master Collection tone into a surprisingly powerful 8-watt combo amp that’s perfect for home, studio and, of course, backstage.

Obeid Khan, Magnatone’s Chief Engineer, collaborated with Slash to create this super portable amp for practice and show prep. “The Lil’ Viper is Magnatone's smallest, most portable offering in the Slash line-up,” says Khan. “Slash wanted a big-sounding backstage solution so we worked together to literally create a big amp…in a little box.”

Slash adds, “I'm not exaggerating when I say this is the most kick ass amp of its size I've ever heard. Its sound actually kicks the ass of amps 3 times its size.“

Like all Magnatone amps, the Lil’ Viper is made in the USA and features a single 12AX7 preamp tube and a pair of NOS 6AQ5 power tubes delivering 8 watts of push-pull Class AB output through a Magnatone Custom 8” ceramic magnet speaker. A High/Low gain switch gives players two distinct voicings. As Khan explains, “Low Gain is a classic, slightly broken-up gain architecture. High gain is a modified type of saturation tone.” Khan also adds that the tone control adds highs and reduces lows as it’s turned up.

Additional Lil’ Viper features include a Slash-requested, speaker-emulated 1/4” headphone output that mutes the internal speaker while still allowing players full control of the amp’s features. There’s a 1/8” line input for playing with backing tracks. Elegantly dressed in Slash’s signature Purple Python cosmetics, the Lil’ Viper roars visually with a backlit Magnatone logo and gold-accented control panel hardware - including the signature vintage-style Magnatone chevron.

Ted Kornblum, President & CEO of Magnatone, says, “While it may be the smallest amp in the Slash collection, the Lil’ Viper really delivers a surprisingly big sound that stands up proudly to its bigger brothers in the collection.”

The Lil’ Viper is available exclusively in Purple Python with a MAP of $1,899.

To learn more about Magnatone’s new models visit www.magnatoneusa.com.

ESP Guitars (NAMM Booth 210D) has added 14 new guitar models to their popular LTD Deluxe “1000 Series”, instruments for professional players who require the versatile tones, smooth playability, and complete reliability for serious recording and touring needs

“LTD Deluxe guitars are being used on the world’s biggest stages and best-selling albums,” says Matt Masciandaro, president and CEO of the ESP Guitar Company. “We feel that our new additions to the LTD Deluxe Series for 2026 are among our best in history.”

The LTD Deluxe Arrow-1000 is being made available in a brilliant Pearl White finish. This V-shaped guitar offers neck-thru-body construction, extra-jumbo stainless steel frets, and a set of direct-mount Fishman Fluence Modern 3-Voice Humbucker active pickups.

Three new EC-1000 models are joining the LTD Deluxe Series. The EC-1000 Candy Apple Red Satin is a single-cutaway guitar that’s built with set-thru construction. Components on this guitar include a TonePros locking TOM-style bridge and tailpiece and a set of ESP-exclusive Seymour Duncan Mortal Coil 3-Voice Active Humbucker pickups, with push-pull controls to activate their multiple voices. The EC-1000 Granite Sparkle also offers set-thru construction at traditional 24.75” scale, and includes a set of direct-mounted Fishman Fluence Modern 3-Voice Humbucker pickups. The EC-1000 Pearl White gleams in a brilliant finish and high-contrast single-ply black binding, with chrome hardware Fishman Fluence Modern 3-Voice Humbucker pickups.

The new LTD Deluxe MH-1000NT Granite Sparkle offers set-thru construction at 25.5” scale, 24 extra-jumbo stainless steel frets, offset block inlays, and Fishman Fluence Modern 3-Voice Humbucker pickups. A shape making its long-awaited addition to the LTD lineup, the LTD Deluxe MV-1000 Pearl White is based on the ESP Maverick, with smooth, flowing curves and a slightly asymmetrical shape that truly stands out from the crowd of typical guitars. It offers bolt-on construction at 24.75” scale, a Floyd Rose 1000SE double-locking tremolo, 27 extra-jumbo stainless steel frets, and a superb Seymour Duncan pickup set with an ESP-exclusive Custom 14 TB in the bridge position and a Hot Rails in the neck.

Another new model for 2026, the LTD Deluxe NV-1000 marks the return of the tough-looking ESP NV shape to the LTD brand with neck-thru-body construction, extra-jumbo stainless steel frets, a Floyd Rose 1000SE double-locking tremolo, and a set of aggressive EMG 81 (bridge) and EMG 60 (neck) active pickups. The LTD Deluxe RS-1000 Pearl White offers ESP’s Random Star shape with neck-thru-body construction, a Floyd Rose 1000SE tremolo, and an EMG 81 (bridge) and EMG 85 active pickup set.

The LTD Deluxe SN-1000FR Candy Apple Red Satin offers bolt-on construction at 25.5” scale in an outstanding solid-color finish, with a resonant swamp ash body and roasted maple neck, stainless steel frets, a Floyd Rose 1000SE double-locking tremolo, and a set of Fishman Fluence Modern 3-Voice Humbucker pickups. The LTD Deluxe SN-1000 HT Dark Brown Sunburst has a quilted maple top, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and a set of Seymour Duncan Custom14 — an ESP exclusive — in the bridge position and an APH-1N in the neck.

Yes another new shape for 2026, the LTD Deluxe TH-1000 Snow White takes a familiar look and soups it up with contemporary design features such as a swamp ash body, roasted maple neck, extra-jumbo stainless steel frets, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and a set of ESP-exclusive Seymour Duncan Mortal Coil 3-Voice Active Humbucker pickups. The LTD Deluxe TH-1000 EverTune FM See Thru Black Sunburst offers this shape with the EverTune constant tension bridge, along with a flamed maple top, a roasted maple neck, a black bone nut, and a set of ESP -exclusive Seymour Duncan Mortal Coil 3-Voice Active Humbucker pickups.

The LTD Deluxe Viper-1001 EverTune Charcoal Metallic Satin also features the EverTune constant tension bridge, along with set-thru construction at 24.75” scale, extra-jumbo stainless steel frets, and an EMG 81 active humbucking pickup. Finally, the LTD Deluxe XJ-2HT Snow White takes the offset XJ body shape and provides it with the feature set designed for the modern musician, including a swamp ash body, roasted maple neck, extra-jumbo stainless steel frets, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and a set of Fishman Fluence Modern 3-Voice Humbucker pickups.

More information on ESP Guitars and the new additions to the LTD Deluxe Series is available on the ESP web site at www.espguitars.com.

Gator has introduced Vertex by Gator, a new pedalboard series developed in collaboration with Vertex Effects. The partnership pairs the design input of Vertex founder Mason Marangella with Gator’s manufacturing capabilities.

The Vertex by Gator collection launches with three sub-series. The Tour Lite series offers a compact footprint with the option to integrate risers for added routing space. The Tour Compact series expands the working surface and introduces multiple board sizes for musicians building mid-sized layouts. The Tour Elite series provides the largest surface area in the collection, accommodating builds that require additional pedal real estate and cable management space.

Rig Doctor accessories in the lineup include a cable-tie and holder pack with 48 pieces, along with a pedalboard mounting kit featuring 0.75” dual-lock adhesive squares, 4” cable ties and 1” cable-tie holders. These additions are intended to support clean wiring and repeatable builds across different configurations within the Vertex by Gator ecosystem.

“I’m honored to be working with a company that shares my value of bringing premium pedalboards and accessories, at an affordable price, to musicians around the world,” said Mason Marangella, owner of Vertex Effects. “It’s been a dream to work with the Gator team and bring ideas to life that I’ve been refining for over seventeen years as a professional rig builder.”

Within the Vertex by Gator range, the Tour Lite series features a 17” x 10” (43.2 x 25.4 cm) layout. The Tour Compact series is available in 23” x 13” (58.4 x 33 cm) and 27” x 13” (68.6 x 33 cm) formats, and the Tour Elite series offers a 31” x 13” (78.7 x 33 cm) layout. Each pedalboard in the series ships with a fitted gig bag sized to the corresponding board.

With the introduction of Vertex by Gator, the two companies present a unified pedalboard system built for varied rig formats. For more information on Gator’s effects pedal accessories, visit gatorco.com, and for details on Vertex Effects, visit vertexeffects.com.

Warren Haynes walks into Axe Lords HQ like he’s done this a thousand times—he probably has given that he was inducted into the Rock & Roll Hall of Fame with the Allman Brothers Band 31 years ago—and within minutes we’re deep into the stuff that actually matters: how you develop a voice standing next to a guitarist as singular as Dickey Betts, why the volume knob is not a decoration, and how “improv” gets better the moment you stop trying to have a good idea.

Along the way, the Gov’t Mule frontman and solo artist unpacks the real-life chain of events that turned a 19-year-old kid into a professional musician: the surprise call from country provocateur David Allan Coe that turned him into a hardened rod dog almost overnight, the daily grind of being a Nashville session singer, and the long game of learning what he calls the golden rule of playing in a two-guitar band: respect what the other player is doing while still being unmistakably yourself.

And because this is Axe Lords, we also get fully nerdy: the story behind that three-pickup SG Custom that went from the cover of Guitar World magazine to the Big House Museum in Macon, the red Custom Shop Strat that got stolen, and why he tours with no less than 20 guitars.

Axe Lords is presented in partnership with the Witz Comedy Network and 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. Artwork by Mark Dowd. Theme music by Valley Lodge.

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

Follow Warren @thewarrenhaynes

Pre-Order Warren’s Re-Mixed and Re-Mastered Version of Debut Solo Studio Album Tales of Ordinary Madness out January 30th via Megaforce Records.

First Single “Fire In The Kitchen” Out Now.

Catch Warren on tour: Winter of Warren 2026 Tour

Aguilar has announced the Tone Hammer 210 Combo, a compact bass combo amplifier designed to deliver the sound, feel, and performance of a full Aguilar rig in situations where space is limited but tone and reliability remain essential.

Built for working bassists, the Tone Hammer 210 Combo was not designed as a scaled-down solution. Instead, Aguilar focused on the environments bassists actually work in—small to medium venues with tight stages, studio and Broadway pit settings where clarity and consistency are critical, and houses of worship where players often rely on in-ear monitoring and flexible direct outputs rather than stage volume.

At the core of the design is a vertically oriented 2×10 cabinet that balances portability with natural projection. The cabinet remains compact while providing dispersion and stage feel closer to a traditional full-size rig. Its height is similar to a Tone Hammer head paired with an SL 410, allowing bassists to hear themselves clearly without excessive stage volume. The amplifier section is physically separated from the cabinet enclosure, preserving internal volume and resonance so the cabinet can deliver its full acoustic performance. This design results in a punchy, focused response that avoids the muddy characteristics often associated with combo amplifiers. The cabinet is loaded with custom ceramic 10-inch speakers inspired by Aguilar’s DB series drivers. Designed from the ground up, these speakers deliver a tight, controlled low end, forward and articulate midrange, and a clear voice that maintains definition in a live mix.

Mounted on top of the cabinet is a 300-watt version of Aguilar’s second-generation Tone Hammer amplifier. Players get the signature Tone Hammer character—warm, rich, and tube-inspired— with the flexibility to dial in tones ranging from vintage thump to modern edge. The rear panel is designed for modern performance needs and includes dual XLR outputs for front-of-house and monitor or in-ear monitor routing, built-in cabinet impulse responses for consistent direct tone, and compatibility with the Aguilar Cabinet Suite desktop application.

Additional features include a headphone amplifier and auxiliary input for silent practice, as well as a redesigned ultra-quiet cooling system suitable for studio and pit environments.

With its combination of efficient cabinet design, custom speakers, and a powerful Tone Hammer amplifier section, the Tone Hammer 210 Combo delivers a true Aguilar experience in a compact, professional format.

For more information, visit www.aguilaramp.com

The Aguilar Tone Hammer 210 Combo is available for pre-order with a street price of $1499.99 and will begin shipping in March 2026.

Tokai Guitars, the respected Japanese guitar manufacturer known for meticulous craftsmanship, vintage-inspired design, and time-tested consistency, is officially returning to the United States. The brand’s U.S. relaunch is supported by Audio Collective Group (ACG), whose focus is brand growth, improved availability, and a stronger connection between Tokai and American players.

For decades, Tokai guitars have been prized by musicians who value boutique feel, consistency, and traditional hand-built quality. Built in Japan by skilled luthiers, Tokai instruments are respected for their balance, playability, and attention to detail, earning a loyal following worldwide among players who value classic designs executed with precision and reliability.

“We’re genuinely excited to get Tokai Guitars back in the hands of U.S. players,” said Bryce Young, President of Warm Audio & Audio Collective Group. “These are beautifully built, made-in-Japan guitars with Golden-era construction, offering a high-quality alternative to more American guitar players. The big thing for us is making Tokai easy to find again through trusted retailers and backing that up with real U.S. customer support and service. Tokai has a long history, including fans & players like Kirk Hammett from Metallica, Robert Fripp from King Crimson, Tim Farriss from INXS, and Billy Gibbons from ZZ Top, and it’s awesome to help bring that legacy back into today’s guitar shops.”

As part of this U.S. relaunch, Audio Collective Group is investing in infrastructure designed to better serve both players and retailers. This includes the active development of a dedicated U.S. / English-language Tokai website, along with initiatives aimed at strengthening visibility, product clarity, Texas-based service, and dealer support throughout the American market.

Key Product Lines Coming to the U.S.

Electric Guitars

Tokai electric guitars are built in Japan using time-honored construction methods, featuring bolt-on necks, vintage-correct neck profiles, and Japanese-made Gotoh hardware and pickups.

• Goldstar (S-Style) — Tokai’s flagship S-style electric, available in classic SSS or hot-rodded HSS configurations. Known for balance, clarity, and responsiveness, with alder or ash bodies and a wide range of vintage finishes.
• Breezysound (T-Style) — A traditional T-style design featuring alder or ash bodies, vintage-voiced Gotoh single-coil pickups, and straightforward controls that deliver punch, articulation, and classic snap.

Bass Guitars

Tokai basses are built with the same attention to detail as their guitars, offering strong fundamentals, articulate low-end response, and dependable performance for both studio and stage.

• Hard Puncher (PB-Style Bass) — A classic passive 4-string bass featuring a split-coil Gotoh pickup, 34" scale length, and traditional volume and tone controls. Designed for warmth, clarity, and mix-ready tone.

Availability

Tokai Guitars will be available in the United States through select authorized dealers supported by Audio Collective Group. Dealers interested in carrying Tokai can contact their ACG sales representative or email sales@audiocollectivegroup.com.

Additional U.S. product information and resources will be available soon via Tokai’s forthcoming dedicated U.S. website: www.tokaiguitars.com

Reverend Guitars has upgraded the Charger Series for 2026. The seven models in the series feature a thinner, streamlined body with improved fret access, resulting in a lighter-weight guitar, enhanced comfort, and a tighter low end. A new string-thru-body design, with a flat-mount bridge and stainless steel saddles, is combined with a solid aluminum string block on the back of the guitar to enhance sustain and clarity.

The Charger HH, H90, 290, and Jr. 90 all feature Reverend’s new Steelhead pickups, which feature oversized steel pole pieces for a highly responsive and punchy tone. The H90 is also available with a Wilkinson WVS50IIK, celebrated for its tone, durability, and tuning stability. The Charger Cleancut is equipped with Railhammer Cleancut pickups, delivering tighter lows, fatter highs, and a balanced tone.

Bold new top colors and backsprayed pickguards create a striking look, while the transparent brown backs add a touch of high-end class. A new Charger headstock logo completes the concept. The Charger Series guitars are modern guitars with classic sensibility, offering the high performance and timeless style you expect from Reverend Guitars.

The Reverend Charger Series is currently shipping to Reverend Authorized Dealers.

Casio has announced the debut of Dimension Shifter, a groundbreaking performance tool that enables guitarists to wirelessly control effects, pedals, and other gear through natural movements of their guitar strap.

First previewed in 2024 under the name Dimension Tripper, this innovative device seamlessly integrates into a standard guitar strap and, using a proprietary control system that harnesses strap tension and spring return force, translates a player’s movements into real-time control of effects parameters. Whether tilting the neck to swell a delay, raising the body for a filter sweep, or leaning back to unleash distortion, Dimension Shifter opens a new world of expressive, intuitive stage performance; no hands required. Because control data is transmitted wirelessly, players can operate the effects on their pedalboard from anywhere on stage, and when used alongside their existing expression pedal(s), they can control multiple parameters simultaneously for more complex sound design.

- YouTube

Dimension Shifter wirelessly connects to a pedalboard receiver, eliminating the need for extra cables and enhancing stage mobility. Musicians can assign specific effects parameters to strap movement, unlocking new interactive performance possibilities. Dimension Shifter is fully compatible with popular pedals, multi-effects units, and DAWs, providing players with maximum flexibility to integrate it into their setups.

The introduction of Dimension Shifter showcases Casio’s long-standing tradition of innovation in musical instruments that goes far beyond keyboards and digital pianos. Since the 1980s, the company has released groundbreaking products that have changed how musicians interact with technology. These include the DG and PG series guitars, which combine traditional guitar playability with advanced MIDI control, the DH Series Digital Horns, breath-controlled wind instruments with built-in synthesis, and the RZ-1 Drum Machine, one of the first affordable models to feature user sampling.

From the pocket-sized VL-Tone synthesizer, which uniquely combined a calculator with music creation, to hybrid MIDI guitars and digital wind instruments, Casio has consistently pushed the boundaries of musical expression. Dimension Shifter continues this innovative tradition, offering guitarists a new platform that transforms their performance and creativity.

“For more than 40 years, Casio has expanded the possibilities of musical creativity through technology,” said Brian Piccolo, Senior General Manager of Sales for Casio’s Electronic Musical Instruments Division. “With Dimension Shifter, we’re giving guitarists an entirely new way to interact with their music, merging the energy of live performance with the precise control of digital effects. It truly transforms how a guitarist commands the stage.”

Key Features of the Dimension Shifter

Motion-based control – Use natural guitar strap movements to control effects.

Wireless freedom – The lightweight transmitter attaches between the guitar and strap, and instantly pairs with a compact receiver pedal.

Broad compatibility – Compatible with various pedals, effects processors, and digital rigs.

Customizable mapping – Assign movements to control parameters like reverb depth, delay time, wah position, or volume.

Versatile modes – Use strap gestures to toggle effects on and off, switch channels, or change a preset.

Performance-ready design – Built for durability and seamless integration into any guitarist’s setup.

The Casio Dimension Shifter carries a street price of $389.99.

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The first Silver Sky to have a matching painted headstock.

PRS Guitars today announced the Silver Sky Wild Blue Limited Edition. This is the first Silver Sky to have a matching painted headstock. Up to 1,000 pieces will be available worldwide in 2026. Wild Blue now joins the ranks of only two previous limited-edition Silver Sky colors: Nebula and Lunar Ice.

“As a watch collector, turquoise blue is a color that has always evoked excitement, so a limited edition Silver Sky in turquoise is the perfect crossover. I hope it brings a smile to both guitar players and watch enthusiasts alike,” said John Mayer.

Wild Blue was prototyped early on in the PRSxJohn Mayer relationship and has been waiting for its day in the sun since the original launch of the Silver Sky in 2018. Beyond the new color, this is the same tried and true Silver Sky familiar to players around the world. It retains Mayer’s signature 635JM pickups, an alder body, 25.5” scale length maple neck, 7.25” radius, and small bird inlays, though the Wild Blue limited will only come with a rosewood fretboard. The full rundown of specs is available on prsguitars.com.

For all of the latest news, click www.prsguitars.com and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.

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The veteran Canadian rocker and his wingman Keith Scott count on hybrid rigs and golden Gibsons for their recent tour.

Last year, Bryan Adams launched the Roll With the Punches Tour, a 40-show run across North America which marked his most significant outing in years. The production touched down at Nashville’s Bridgestone Arena in early November. That’s where Adams’ tech Craig Pattison gave PG’s John Bohlinger a backstage tour of the gear used by Adams, and guitarist Keith Scott and his tech Dan Ely detailed what’s used on the other side of the stage. Peep the highlights below, and tune into our new Rig Rundown for more!

[Brought to you by D’Addario.]

Summer of ’53

Adams has a few of these vintage Gibson ES-295s, loaded with P-90s, and treasures their expressiveness so highly that they’ve displaced the Stratocasters he used for much of his career. The original Kluson tuners were swapped out for Waverly machines. Another 295 stays on standby.

Adams’ guitars take custom La Bella strings (.012–.014–.017–.030–.040–.050). Second guitarist Keith Scott uses the same range, except with a .018 G string.

Adams’ Acoustic

Adams’ 1954 Martin D-18 uses a Fishman Natural 1 pickup—a model that Pattinson stocked up on to ensure they never have to go without. The guitar takes a set of La Bella 7GPS Phosphor Bronze strings (.012–.052).

Bryan Adams’ Pedalboard

This simple board helps Adams navigate effects on guitar, but it also carries his bass rig when he switches to the 4-string. In addition to the Fractal FC-6 and TC Electronic Polytune, there’s an Ampeg SGT-DI, Radial SGI-TX, Universal Audio Max Preamp and Dual Compressor, and an Axess Electronics IsoFormer RCV. A Truetone CS-7 1 Spot Pro keeps the lights on.

Bryan Adams’ Rack Setup

Adams’ chain runs into a massive Pete Cornish Custom Design control unit, which is the heart and soul of his sound. Among its many functions, it features an integrated tuner, distortion, and Mu-Tron effect unit. A Fractal Axe-Fx III with models of a Vox AC30 and a Marshall JTM45 has replaced his amplifiers, and the Fractal FC-6 controller on his pedalboard handles Adams’ switching.

Bryan Adams’ Rack Setup

Adams’ chain runs into a massive Pete Cornish Custom Design control unit, which is the heart and soul of his sound. Among its many functions, it features an integrated tuner, distortion, and Mu-Tron effect unit. A Fractal Axe-Fx III with models of a Vox AC30 and a Marshall JTM45 has replaced his amplifiers, and the Fractal FC-6 controller on his pedalboard handles Adams’ switching.

Rock ’n’ Roll Relic

Scott’s main weapon is this 1963 Fender Stratocaster. As you might guess, it came by its worn look very honestly.

A Gift to Remember

This 1954 Gibson Les Paul was gifted to Scott by Adams for Christmas in 1989. Over the years, it’s been refretted, and fitted with upgraded bridge, machine heads, and nut.

Paint it Black-Panel

In addition to a backstage rack setup, Scott runs a pair of black-panel Fender Bassman heads through matching cabinets.

Keith Scott’s Rack and Effects

Scott, too, runs a Fractal Axe-Fx III system, housed in a rack alongside a Dunlop DCR-2SR Custom Shop Wah rack unit and a TC Electronic D-Two delay. His main tone comes from a cranked Ibanez Tube Screamer, and other pedals include a Boss TR-2, Stone Deaf Noise Reaper, Darkglass Hyper Luminal, Boss CS-3, KingTone The Octaland, Ibanez AF-9, Lovetone Brown Source, Hughes & Kettner Tube Rotosphere, Subdecay Prometheus DLX, Strymon El Capistan, TC Electronic TC2290, and Boss CH-1.

An RJM Effect Gizmo and Mastermind GT help Scott navigate some switching, but tech Ely handles 80 percent of the work.

Keith Scott’s Rack and Effects

Scott, too, runs a Fractal Axe-Fx III system, housed in a rack alongside a Dunlop DCR-2SR Custom Shop Wah rack unit and a TC Electronic D-Two delay. His main tone comes from a cranked Ibanez Tube Screamer, and other pedals include a Boss TR-2, Stone Deaf Noise Reaper, Darkglass Hyper Luminal, Boss CS-3, KingTone The Octaland, Ibanez AF-9, Lovetone Brown Source, Hughes & Kettner Tube Rotosphere, Subdecay Prometheus DLX, Strymon El Capistan, TC Electronic TC2290, and Boss CH-1.

An RJM Effect Gizmo and Mastermind GT help Scott navigate some switching, but tech Ely handles 80 percent of the work.

Keith Scott’s Rack and Effects

Scott, too, runs a Fractal Axe-Fx III system, housed in a rack alongside a Dunlop DCR-2SR Custom Shop Wah rack unit and a TC Electronic D-Two delay. His main tone comes from a cranked Ibanez Tube Screamer, and other pedals include a Boss TR-2, Stone Deaf Noise Reaper, Darkglass Hyper Luminal, Boss CS-3, KingTone The Octaland, Ibanez AF-9, Lovetone Brown Source, Hughes & Kettner Tube Rotosphere, Subdecay Prometheus DLX, Strymon El Capistan, TC Electronic TC2290, and Boss CH-1.

An RJM Effect Gizmo and Mastermind GT help Scott navigate some switching, but tech Ely handles 80 percent of the work.

Keith Scott’s Rack and Effects

Scott, too, runs a Fractal Axe-Fx III system, housed in a rack alongside a Dunlop DCR-2SR Custom Shop Wah rack unit and a TC Electronic D-Two delay. His main tone comes from a cranked Ibanez Tube Screamer, and other pedals include a Boss TR-2, Stone Deaf Noise Reaper, Darkglass Hyper Luminal, Boss CS-3, KingTone The Octaland, Ibanez AF-9, Lovetone Brown Source, Hughes & Kettner Tube Rotosphere, Subdecay Prometheus DLX, Strymon El Capistan, TC Electronic TC2290, and Boss CH-1.

An RJM Effect Gizmo and Mastermind GT help Scott navigate some switching, but tech Ely handles 80 percent of the work.

From windmill-powered legends to digital revolutionaries—explore the pedalboards, rack systems, and signal chains that defined 2025, featuring Queens of the Stone Age, the Who, Linkin Park, Keith Urban, My Chemical Romance, and more.

The Who

Pete Townshend’s Pedalboard

The legendary windmiller’s guitars run into a Pete Cornish AC Powered 3 Way Split box, then onto a very custom Cornish-built pedalboard. Inside are just three circuits, pulled from their enclosures and wired up by Cornish: a T-Rex Effects Replica, a Boss OD-1, and a Demeter Compulator. Tech Simon Law’s predecessor, lifelong Townshend tech Alan Rogan, had Cornish build two of these; the backup stays on hand in case of emergency. The board is also outfitted with a top-notch power supply and buffer circuit, plus the nifty “Dr. Who-style” footswitch buttons.

Jon Button’s Pedalboard

Button runs three signals to front of house: one from his Noble Preamp, and two from his Neural Quad Cortex. One of the Neural’s signals runs a stock Ampeg SVT model, and the other is an emulation of Pete Thorn’s Suhr SL68, plus four preset drive levels that Button can switch between as desired. Front of house blends the signals as they see fit.

Amyl and the Sniffers

Declan Mehrtens’ Pedalboard

The jewel of Mehrtens’ board is his SoloDallas Schaffer Replica, famous for its recreation of Angus Young’s guitar tone. In addition, he runs a TC Electronic PolyTune 3 Noir, Electro-Harmonix Soul Food modded with LED diodes, MXR Micro Flanger, two MXR Carbon Copy Minis, and a Vox wah pedal. A switcher with six loops, built by Dave Friedman, manages the changes.

Gus Romer’s Pedalboard

Romer’s board, furnished with the help of Mehrtens, gets right to the point: It features a TC Electronic PolyTune 3, a Boss ODB-3, and an MXR Distortion+.

Queens of the Stone Age

Troy Van Leeuwen’s Pedalboard

All of Van Leeuwen’s pedals go through loops, with a RJM Mastermind PBC/6X and Mastermind GT/16 handling the switching, and most processing done through a Fractal FM3 and a pair of Eventide H9s. Van Leeuwen designed the boards, and his tech Cody helped build and program it.

Across the two boards, there’s a pair of Electro-Harmonix Superegos and Way Huge Saffron Squeezes, plus Dunlop expression and volume pedals; EarthQuaker Devices Tentacle, Rainbow Machine, and Fuzz Master General; Way Huge Effect Pedal, Green Rhino, and Atreides; Echopark Echodriver; Ten Years Is A Decade; modified EHX Holiest Grail; and Dr. No Effects TVL Raven.

Dweezil Zappa

Dweezil Zappa’s Pedalboard and Rack

Zappa keeps a significant board at his feet, which he operates with a Fractal FC-12 controller. He runs his sound in stereo, with different effects going to each side, so he keeps volume pedals for each in front of him, plus a wah and expression pedal.

The row of pedals perched atop the board includes a TC Electronic Polytune 3 Noir, a Marshall-style prototype pedal, J. Rockett Audio Designs PXO, Union Tube and Transistor Lab, SoloDallas Orbiter, a Jext Telez White Pedal (to nab a specific tone for playing “Nanook Rubs It”), and a 29 Pedals FLWR.

In our 2013 Rig Rundown, Dweezil was using a Fractal Axe-Fx II, and this time around, he’s upgraded to the Axe-Fx III as the basis of his sound. Given the sonic territory covered in his shows, it simply became too unwieldy and expensive to tour an analog rig.

The brains of his show are held in a rack system. A couple of out-of-sight splitter boxes help with the complex stereo signal paths, as do a pair of Voodoo Lab HEX audio switchers. The Axe-Fx III lives on the top shelf, and just below it are an Eventide H90 and TC Electronic TC 2290 that go to both sides.

The next rack down runs only to the left side, and includes a BK Butler Tube Driver, DigiTech FreqOut, Red Panda Radius and Raster, Krozz Devices Airborn Analog Flanger, and a Paul Trombetta Design Tornita! fuzz.

The level below it runs to the right side, with a “Clown Vomit” fuzz, Chase Bliss Warped Vinyl, Korg FLG-1 Flanger, Chase Bliss Generation Loss, Goochfx Holy Cow, and another Red Panda Raster.

Linkin Park

Mike Shinoda, Brad Delson, and Alex Feder’s Rack Systems

Brad Delson’s rig (used by touring member Alex Feder) lives on the left side of this rack, while Mike Shinoda’s takes up the right. They both feature a Radial KL-8, two Radial JX44s, two Shure AD4Qs, and two Fractal Axe-Fx III units. Shinoda’s setup also includes two Electro-Harmonix HOG2 pedals. The Fractals employ IRs that were captured by old FOH engineer Pooch, using a Randall cabinet.

MIDI handles all of the changes for the show, though there’s a Fractal FC-12 foot controller on hand for manual switching in case of emergency. Fred Carlton of Nerdmatics, who built the Linkin Park rig for the 2024-2025 run promoting From Zero, shared some information with us: “The backline gear consists of about 11 computers running Ableton, all receiving locator information from the main playback computers. We maintain redundant computer systems for Joe Hahn’s DJ rig, Mike Shinoda’s keyboard rig, the Audio FX rig, and the Playback system. Single-computer setups are used for both guitar rigs and the bass rig, as these stations only send MIDI patch changes and do not handle audio. Additional single-computer systems are in place at Monitor World, FOH, and within the Visual department.

Each station carries an updated timeline of the show, allowing techs to insert automation data such as MIDI or timecode to control their systems. Once changes are made to the main Ableton session, we distribute updated .ALS files to all departments, enabling them to integrate their specific data into the new timeline. This workflow allows us to implement changes quickly while keeping all departments aligned. Having separate computers also gives each tech the ability to test their own system independently. In the event of losing RTP network connectivity, they can punt the show locally without relying on external automation.”

The Jesus Lizard

Duane Denison’s Pedalboard

Denison sets up this Line 6 Helix as a pedalboard, with tweaked versions of his favorite analog delay pedals programmed in. Among his go-to effects are reverb, slapback delay, tremolo, chorus, wah, longer delay, and what he calls a “wildcare effect,” which comes into play for “What If?”

Dave Wm. Sims’ Pedalboard

No fancy floor unit for Sims. He’s got a Boss ODB-3, an MXR Bass Chorus Deluxe, and an MXR Phase 90, all of which are used sparingly throughout the set.

Keith Urban

Keith Urban’s Pedalboard

Delays and modulation are all added to Urban’s tones after three mics capture the sound of his Marshall cab. Those signals hit this Fractal Axe-Fx II XL+, which tech Chris Miller controls offstage. A Mission Engineering expression is the only pedal Urban utilizes, which controls a model of a Cry Baby in the Fractal.

Katy Perry's Devon Eisenbarger

Devon Eisenbarger’s Rack Setup

Eisenbarger runs an all-digital rig, contained in this rack backstage. The key pieces are a Radial JX42, two Shure AD4Ds, a Kemper Profiling Amplifier, and a Fractal Axe-Fx. The Kemper runs a SELAH SOUNDS pack of profiles and impulse responses.

With no onstage monitors, Eisenbarger’s signal runs only to in-ear monitors and front of house.

Billy Idols' Steve Stevens

Steve Stevens’ Pedalboard

Stevens’ pedal playground is managed by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but tech Frank Falbo is ready to flip switches backstage in case Stevens is away from his board at a key moment.

The center hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.

The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.

Deep Sea Diver

Jessica Dobson’s Pedalboard

Dobson runs a busy board powered by a Voodoo Labs Pedal Power 2 Plus and operated via a Boss ES-8. There’s also her signature Benson Deep Sea Diver, plus a Benson Germanium Preamp, JHS Pulp N Peel, Sarno Music Solutions Earth Drive, Benson Germanium Boost, EHX Deluxe Memory Man, Strymon blueSky, EHX POG2, Chase Bliss Brothers Analog Gainstage, and Menatone Pleasure Trem 5000, plus a TC Electronic PolyTune 2 Noir.

MJ Lenderman

MJ Lenderman’s Pedalboard

Lenderman’s clean, easy board has a D’Addario tuner, Death By Audio Interstellar Overdriver Deluxe, a Dunlop wah that he uses as a subtle filter, and a TC Electronic Flashback 2.

Jon Samuels’ Pedalboard

Samuels’ board, a hybrid of his own pedals and some borrowed units, carries a Hardwire HT-6 polyphonic tuner, Death By Audio Fuzz War, JHS Double Barrel, Dunlop wah, J. Rockett Archer Clean Boost, Joyo Tremolo, EHX Nano Small Stone, and TC Electronic Flashback 2.

Landon George's Pedalboard

George packs a Korg Pitchblack tuner, Origin Effects Cali76 Compact Bass, Boss DD-7, Darkglass Electronics Alpha Omega, and a Noble Amplifier Company utility box—it’s a tube preamp, DI box, and power supply, all in one.

Orianthi

Orianthi’s Pedalboard

Orianthi’s playing does most of the heavy lifting, but this humble board contributes some muscle. There’s a Dunlop Cry Baby EVH wah, Dunlop Authentic Hendrix ’68 Shrine Series Octavio, Dunlop Authentic Hendrix ’68 Shrine Series Uni-Vibe, MXR Analog Chorus, Boss BF-2, Boss DD-3, and a Boss TU-3.

My Chemical Romance

Frank Iero’s Rack

Iero’s backstage rig 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.

Ray Toro’s Rack

A Shure Axient wireless system sends Toro’s 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.

Onstage at his feet, Toro’s pedalboard boasts 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.

Mikey Way’s Pedals

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.

My Morning Jacket

Jim James’ Pedalboard

James’ board is built around a pair of GigRig QuarterMaster switching systems, which lets him navigate the stomps seen here: a Devi Ever US Fuzz, Boss BD-2w, SoloDallas Schaffer Boost, Boss OC-2, EarthQuaker Devices Spatial Delivery, Strymon blueSky, EQD Ghost Echo, Malekko Spring Chicken, ISP Deci-Mate, Electro-Harmonix Mel9, UA Starlight Echo Station, and UA Astra Modulation Machine. A D’Addario Chromatic Pedal Tuner duo keep things on pitch, a Strymon Zuma and Ojai pair handle the power, and a Radial SGI-44 line driver maintains clarity.

Carl Broemel’s Pedalboard

Broemel commissioned XAct Tone Solutions to build this double-decker board, which depends on a GigRig G3S switching system. From top to bottom (literally), it includes a Boss TU-3, Durham Electronics Sex Drive, JAM Pedals Tubedreamer, Source Audio Spectrum, JAM Retrovibe, MXR Phase 100, Fender The Pelt, Origin Effects SlideRIG, 29 Pedals EUNA, two Eventide H9s, Kingsley Harlot V3, JAM Delay Llama, Merix LVX, Hologram Chroma Console, and EHX POGIII. A wah and Mission Engineering expression pedal sit on the left side, while a Lehle volume pedal and Gamechanger Audio Plus hold down the right edge.

Utility units include two SGI TX interfaces, two Strymon Ojais and a Strymon Zuma, and a Cioks Crux.

Tom Blankenship’s Pedalboard

Like James, Blankenship uses a GigRig QuarterMaster to jump between his effects. After his Boss TU-3, that includes an Origin Effects Cali76, DigiTech Whammy Ricochet, Pepers’ Pedals Humongous Fuzz, MXR Bass Octave Deluxe, Tronographic Rusty Box, and EHX Bassballs Nano. A Voodoo Labs Pedal Power 2 Plus lights things up, and a Radial SGI TX keeps the signal squeaky clean.

Many years ago, before I had inklings of writing about and researching guitars, I had an eye for the unique—weird, strange, and odd artistic flair that I seemed to find in random things. Vintage car parts held my attention for a while, and even though I had only rudimentary knowledge, I still enjoyed designs and how I could fit them together. Like early hot rods or motorcycle choppers, I saw an intoxicating beauty in what some folks would call “outsider” art.

Additionally, I grew up near Nazareth, Pennsylvania, home of Martin guitars and the Andretti family! Interestingly, there were a few racetracks (often called speedways) around, which were like oval dirt tracks where all sorts of cars raced around and turned the attendees into mudballs! At the time, my parents had an AMC Gremlin and, with tons of modifications, many of those cars were transformed into racers. It was like I drove around in a hot rod with no seat belts! Good times.

“What’s the big deal if this pickup was supposed to be in the bridge position, or that pickup was wired out-of-phase?”

Of course, as my attention turned towards electric guitars, I saw the opportunity for hot-rodding and modifying these instruments. Why? Because the guitars I found were often unplayable, and sometimes had dead pickups. I mean, what’s the big deal if this pickup was supposed to be in the bridge position, or that pickup was wired out-of-phase? These details meant nothing to my obsessive mind. I just wanted to create guitars and make noise.

Now, much earlier than my fiddlings, there was a fellow from South Jersey (also near me) that was already repairing pickups and experimenting with wire, winding, and construction techniques. This gentle soul, one of the nicest guys I’ve ever met, is the amazing Seymour Duncan! I don’t have to list all of his accomplishments and accolades. He’s a true living legend, and has had a massive impact on music, repair work, and guitar tone. But I would argue that Seymour is one of the earliest practitioners of hot-rodding guitars. Think about it: Back in the day, when a pickup failed, it was simply replaced with another factory part. But Seymour actually repaired pickups and noticed all sorts of differences. I’m sure it also helped that he’s an excellent player with a good ear for tone—whereas me, I didn’t have an ear at all.

So what can a kid do when there aren’t any repair spots nearby, and he hasn’t the ability to differentiate between good tones or bad ones? Well, you just go nuts like I did, and listen to hundreds of guitars and pickups! The good, bad, and ugly of 6-strings all passed through my hands, and eventually I developed a certain “type” of ear. Not Seymour-level, but maybe like, empty-beer-can level? I started to listen for pickups that had a presence and zing. I dug aggressive sounds, but I also enjoyed hearing a touch of echo. Eventually, I settled on pickups that were constantly on the verge of losing it, exploding without your palm grounding the electronics, constantly on the edge of feedback! For me, it was akin to driving a car with a manual transmission. I felt more in tune with a guitar if it was giving me input, dig?

Out of all the pickups I’ve heard, among my favorites are the earliest gold-foil ones made by Teisco. There are tons of gold-foil variants hailing from 1960s Japan, but the very first ones, produced between 1963 and 1965, are the best to my ears. It’s probably why older players would hot-rod guitars with these units. So for this month, I’m giving you a glimpse of one of my hot rods with my gold-foils. This guitar, dubbed the “Pumpkin,” is one of the easier builds you can do. Vintage and many reissue gold-foils were surface-mount, so you can easily adapt a tried-and-true template like a Fender Stratocaster. It’s like using the old Ford Model A, because you have a solid base, and don’t have to modify too much. Everything on mine here is mostly genuine Fender, except for the electronics.

Another easy way to mess around is with the guitar’s pot values, but then again, I’m getting a bit out of my pay grade. For those kinds of questions, you’d have to check with Seymour!

Guild® Guitars today introduced the F-412 Standard Natural and F-412 Standard Pacific Sunset Burst jumbo-sized 12-string acoustic guitars. Meticulously crafted in the USA*, these premium instruments differ only in their finishes, and both are also available with L.R. Baggs® Element VTC pickup systems.

“The new F-412 Standard guitars are the first American-made mahogany body 12-strings that Guild has offered in many years,” said Nick Beach, Product Manager, Fretted Instruments. “These professional-quality guitars are also more accessible than our top-of-the-line 12-strings, putting them well within reach of working guitarists.”

F-412 Standard Natural and F-412 Standard Pacific Sunset Burst guitars boast solid African mahogany backs and sides that provide rich warmth, while their solid Sitka spruce tops add brightness—resulting in a lush, wide, symphonic sound with deep lows, vibrant mids, and characteristic Guild 12-string sparkle and shimmer.

The guitars also feature comfortable C-Shape mahogany necks topped with Indian rosewood fingerboards, tortoiseshell pickguards, white body binding, pearloid Guild Peak logo headstock inlays, and Deluxe Vintage open-gear tuners with cream oval buttons.

The F-412E Standard Natural and F-412E Standard Pacific Sunset Burst guitars include L.R. Baggs Element VTC active pickup systems with Volume and Tone controls that faithfully reproduce the guitars’ acoustic sound when amplified or recorded.

All F-412 Standard guitars come with a Guild Deluxe humidified hardshell case and a Certificate of Authenticity.

Pricing & Availability

F-412 Standard Natural $2,799.99 USD (MSRP)

F-412E Standard Natural $2,999.99 USD (MSRP)

F-412 Standard Pacific Sunset Burst $2,899.99 USD (MSRP)

F-412E Standard Pacific Sunset Burst $3,099.99 USD (MSRP)

Available now

Learn More

https://my.guildguitars.com/guild-usa/f-412-standard-natural

https://my.guildguitars.com/guild-usa/f-412-standard-natural/#naturalE

https://my.guildguitars.com/guild-usa/f-412-standard-pacific-sunset-burst

https://my.guildguitars.com/guild-usa/f-412-standard-pacific-sunset-burst/#pacificsunsetburstE

PG's video crew discuss & debate what band has rocked the U.S. music scene the most in the last 75 years.

D’Addario announces the Micro-Fiber Polishing Mitt: a reusable, chemical-free cleaning tool that keeps instruments looking and sounding their best. Made with ultrafine microscopic fibers, the mitt removes dust, dirt, oils, and smudges, offering a fast, safe alternative to traditional cloths and harsh polishes.

Designed for Precision Cleaning

The wearable mitt design fits right over the hand, giving players maximum control when cleaning tricky areas like under strings, around hardware and tuning pegs, or inside cutaways. It’s also ideal for gently wiping down strings to help extend lifespan and preserve tone. The Micro-Fiber Polishing Mitt is durable, machine washable, and designed to last.

Key Features

• Chemical-Free Cleaning: Removes dust, dirt, and oils without sprays or polishes.
• Wearable, Precision Design: Fits over the hand to reach tight spots with ease.
• Safe for All Instruments: Ideal for guitars, basses, keyboards, drums, and more.
• Supports String Longevity: Gently cleans strings to help maintain tone.
• Reusable & Washable: Built for long-term use; cleans easily with soap and water.

Availability & Price

The Micro-Fiber Polishing Mitt is available now through daddario.com and authorized retailers. Street price: $7.99.

For more information, visit: https://bit.ly/polishmitt-pr