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UK-based amp maker Blackstar has entered the floor-modeller space with the launch of ID:X Floor, its first range of high-performance digital floor processors for electric, bass and acoustic guitars.

Built as a floor-based evolution of the brand’s popular ID:X combo amps, the ID:X Floor series aims to deliver “the tone and feel of a real amp” without the distraction of endless menu-diving. Combining decades of amp-building experience with component-level digital modelling and powerful DSP, Blackstar says the result is a more responsive, valve-like playing experience with intuitive, hands-on control.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

At the core of ID:X Floor is advanced component-level modelling, designed to capture not just the sound of an amp, but the way it reacts under the fingers.

The system features 12 authentic component-level electric guitar amp models – split between six Blackstar designs and six Ampton recreations of classic amps – alongside three bass amps, two acoustic voices, and an acoustic simulator.

Players can also select different virtual power valve responses (EL84, EL34, or 6L6) and shape everything using Blackstar’s familiar ISF control.

Cab simulation is handled by Blackstar’s IR-driven CabRig system, which aims to feel more dynamic than traditional static impulse responses. The company’s ‘In The Room’ CabRig technology is designed to recreate the sensation of standing in front of a real valve amp, whether you’re running direct to front of house, through an FRFR system, or integrating ID:X Floor into a pedalboard. Full MIDI control is also on hand for deeper integration with more complex setups.

Finally, a full suite of I/O, including USB-C for audio interface use, balanced XLR outputs and headphone output, let ID:X Floor integrate seamlessly with FRFR cabs, traditional amps, or DAWs.

Players can choose between three models: The ID:X Floor One ($239.99) keeps things compact and pedalboard-friendly; the Floor Two ($279.99) adds a built-in expression pedal for volume, wah, and effects parameters; while Floor Three ($349.99) is the “ultimate floor solution” with extended patch/effects switching, added MIDI Thru and an effects loop for maximum versatility.

Alongside the modeller launch, Blackstar has also announced Artist FR, a new line of powered full-range, flat-response (FRFR) cabinets designed to give digital modeller users the dynamics and feel of an actual guitar amp.

“Most FRFR cabinets feel like PAs pretending to be guitar amps,” says Blackstar. “With Artist FR, we’ve created cabinets that look right, feel right, and respond like a real amp – compact, affordable, and ready for any gig.”

The cabinets combine custom flat-response speakers with whizzer cones, active three-band EQ and Presence controls, and include a built-in kickstand for easy floor monitoring.

Two models are available: the $369.99 Artist FR Standard (50 Watts, 1×12) for home use and smaller gigs, and the $449.99 Artist FR Special (100 Watts, 1×12) for louder stages and rehearsals.

Learn more at Blackstar Amps.

The post ID:X Floor – Blackstar’s first “high-performance” digital floor modellers deliver the tone and feel of real amps with hands-on controls appeared first on Guitar.com | All Things Guitar.

In one of the most innovative new offerings to be revealed at NAMM 2026, Strandberg has partnered with Jamstik for a new MIDI technology-infused headless electric guitar.

The Strandberg x Jamstik Chameleon MIDI Guitar is essentially a traditional analogue electric guitar (well, ‘traditional’ might be a stretch – it is Strandberg, after all) with MIDI functionality. The instrument aims to empower guitarists not only in playing, but in composing, producing, transcribing and other areas of modern digital music creation.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

Via its onboard MIDI functionality, the Chameleon MIDI Guitar allows players to control software instruments, hardware synthesizers, as well as other digital production tools.

In terms of connectivity, the guitar features a USB-C input for direct computer and DAW integration, TRS-MIDI for controlling hardware synths without a computer, and even Bluetooth functionality for wireless configuration and real-time setting adjustments via mobile devices.

“By embedding our MIDI technology into Strandberg’s guitars, we’ve built an instrument that supports modern creative workflows while still feeling unmistakably like a world-class guitar,” said Jonathan Keller, Senior Engineer at Jamstik.

“Strandberg’s craftsmanship and ergonomics gave us the ideal foundation to make MIDI feel expressive, musical, and completely natural to play.”

Aesthetics include a “chameleon-style” finish which subtly shifts between purple, green and graphite tones depending on the lighting.

“Strandberg guitars are designed to remove friction between the player and their ideas,” says Ola Strandberg, Founder and Creative Lead at Strandberg Guitars.

“This collaboration with Jamstik extends that philosophy into the digital domain, giving players new creative possibilities.”

Each guitar includes access to Jamstik Creator, Jamstik’s companion software for configuring MIDI behaviour, sensitivity, tuning options and performance settings.

The Strandberg x Jamstik Chameleon MIDI Guitar is priced at $2,199/£1,799, and is available now as a limited pre-order via Jamstik and Strandberg. The first batch is scheduled to ship early spring 2026.

If you’re heading to NAMM 2026, you can also visit Strandberg at Booth #5414 and Jamstik at Booth #9907.

The post Strandberg and Jamstik partner on a headless electric guitar with MIDI functionality appeared first on Guitar.com | All Things Guitar.

Guild has introduced a pair of new 12-string acoustics, the F-412 and F-412E Standard.

Both available in Natural and Pacific Sunset Burst, these guitars are branded as instruments for the “working guitarist”, and both sport a solid an array of quality tonewoods, with African mahogany backs and sides, solid Sitka spruce tops, as well as comfortable C-shaped mahogany necks with Indian rosewood fingerboards.

• READ MORE: “My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar

Finishing touches include tortoiseshell pickguards, white body binding, and cream Deluxe Vintage open-gear tuners.

The F-412E Standard is an electro-acoustic version, with an L.R. Baggs Element VTC active pickup system, offering Volume and Tone controls for tone shaping.

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

In terms of pricing, the F-412E Standard Natural sits at $2,999.99, while the F-412E Pacific Sunset Burst costs $3,099.99. If you’re strictly sticking to the acoustic side with no electronics, the F-412 Standard Natural is $2,799.99, with the F-412 Pacific Sunset priced at a slightly higher $2,899.99.

All F-412 and F-412E Standard guitars also come with a Guild Deluxe humidified hardshell case, as well as an accompanying Certificate of Authenticity.

To find out more, head to Guild.

The post Guild unveils two new “accessible” 12-string acoustics, the F-412 and F-412E Standard appeared first on Guitar.com | All Things Guitar.

In what’s sure to be one of the biggest launches of the 2026 NAMM Show, Neural DSP has unveiled the Quad Cortex Mini, offering the full sound and processing power of its flagship Quad Cortex amp modeller in a significantly smaller footprint.

Measuring just 22.8 x 11.8 x 6.5 cm, weighing just 1.5 kg and 50% smaller, the Quad Cortex Mini is designed for easier-than-ever integration into pedalboards, compact racks and desktop studios, without sacrificing the immense power of the larger flagship version. You may or may not remember we blessed the original Quad Cortex with a 10/10 rating in our 2021 review, asking whether it would become the most “game-changing guitar product of the decade”. But will the Quad Cortex Mini make the same splash in the amp modeller market?

• READ MORE: Roland adds three more treasured Boss pedals to its Effects Pedals plugin

The Quad Cortex Mini interface is centred around a 7” touchscreen display and four stainless steel rotary footswitches, offering “precise, tactile control underfoot and at the fingertips in both live and studio environments”.

Features include Neural Capture V1 and V2 support for capturing amps, cabs, drives, fuzzes and compressors, a comprehensive library of 90+ amps, 100+ effects, 1,000+ IRs and 2,000+ Captures, and free access to thousands of community Captures via Cortex Cloud.

There’s also the Focus system for fast, hands-on parameter control with the rotary footswitches, a Pages system for extended footswitch control without increasing hardware footprint, and a Gig View for “performance-focused” stage control.

And while we’re on the topic of performance, the Quad Cortex Mini introduces a locking power connector for secure live operation. There’s also comprehensive I/O, with an instrument/mic combo input with phantom power, balanced XLR outputs, stereo send/return via TRS, MIDI over TRS and USB-C, and even a headphone output for quiet practice.

The new unit also sits neatly in the Quad Cortex ecosystem, with users able to move presets and system backups between a Quad Cortex and Quad Cortex Mini, if they wish.

“Since the introduction of Quad Cortex in 2020, our goal has been to define the standard for what an all-in-one digital rig can be,” says Douglas Castro, CEO and Co-Founder of Neural DSP.

“We set out to combine machine-learning-based modelling, studio-grade audio quality, and a fast, performance-focused workflow in a single unit. With Quad Cortex Mini, we’ve carried that same philosophy forward, preserving the processing architecture and Neural Capture technology that allow us to create ultra-accurate digital replicas of amplifiers, cabinets, drive pedals, fuzzes, and compressors, now in a more compact form without compromise.”

In addition to the launch of the Quad Cortex Mini, Neural DSP has unveiled CorOS 4.0.0, bringing new utilities to the platform including a series of reverbs, plus Phase Doctor, which aligns signals in stereo rigs and multi-amp setups.

“Quad Cortex Mini represents our belief that size shouldn’t dictate what a professional rig is capable of,” concludes Francisco Cresp, Neural DSP Co-Founder and CPO.

“It carries forward the same sound quality, the same processing depth, and the same creative control that define Quad Cortex, while opening up new possibilities for how and where that level of performance can be used. The goal was to ensure that whether a player is in the studio, on stage, or on the road, they can rely on the same technology, the same results, and the same level of trust in their rig, regardless of form factor.”

The Quad Cortex Mini is available now, priced at €1,299. To learn more, head to Neural DSP, and if, like us, you’re lucky enough to be at the 2026 NAMM Show, you can pay Neural DSP a visit at Booth #5243.

The post “A more compact form without compromise”: Neural DSP downsizes its flagship Quad Cortex with the smaller but equally powerful Quad Cortex Mini appeared first on Guitar.com | All Things Guitar.

PRS has partnered with Ed Sheeran on a new “Cosmic Splash” Limited Edition signature model, adorned with eye-catching artwork by the singer-songwriter superstar himself.

Featuring the exact design from one of Sheeran’s 2025 Cosmic Carpark paintings – a series of artworks he sold last year to raise money for the Ed Sheeran Foundation – the new “Cosmic Splash” model is a limited SE Hollowbody I Piezo Baritone model, with only 1,000 available worldwide.

• READ MORE: Bourgeois Guitars’ limited-edition Luke Bryan signature line is made with Black Walnut hand-selected from his own farm

In terms of specs, the guitar features a PRS/LR Baggs Piezo system, along with 85/15 “S” pickups, as well as a hollow body with a maple top with a ‘Shallow Violin’ carve and flat mahogany back, and a glued-in Wide Fat mahogany neck, 10”-radius rosewood fingerboard and 27.7” baritone scale length. Elsewhere, the guitar sports an adjustable PRS stop-tail bridge and PRS tuners.

But visuals are obviously the key draw of this guitar. In addition to the striking “Cosmic Splash” artwork design, the instrument sports fretboard inlays which are a nod to Sheeran’s Stereo series of albums – Play, Pause, Rewind, Fast-Forward and Stop – the first of which landed last year (2025). The guitar also dons a Play icon on its truss rod cover.

“I started painting as a way to stay creative when I am off the road,” says Sheeran. “I often say ‘keep the faucet running’ when it comes to songwriting – it’s so important to stay in a creative headspace to get to the really good stuff. My hope is that people find this instrument as inspiring as I do. To have my artwork on it as well is such a treat.”

While this isn’t the first collaboration between Ed Sheeran and PRS – they worked together last year on a one-off SE Hollowbody Baritone for the music video for Drive, from the F1: The Movie soundtrack – it is the first PRS x Ed Sheeran model to be available for purchase by the public.

The Limited Edition Ed Sheeran “Cosmic Splash” model is available now, priced at £1,599/$1,599. Each guitar also comes with an 8” x 8” print of the same Cosmic Carpark painting on the guitar’s body, also hand-signed by Ed Sheeran.

Learn more at PRS.

The post PRS taps Ed Sheeran for limited-edition “Cosmic Splash” signature model – featuring the superstar’s own artwork on its body appeared first on Guitar.com | All Things Guitar.

VOX is marking the 25th anniversary of its Valvetronix series with the launch of two new hybrid guitar amplifiers: the VT20X and VT40X.

Described as a “bold evolution of the Valvetronix concept”, the new models are aimed at players who want the “authentic feel of classic tube amps” and the flexibility of modern digital modelling.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

At the core of both amps is a redesigned hybrid architecture that pairs new modelling technology with a multi-stage tube preamp circuit. According to VOX, its new modelling algorithm goes beyond static tonal snapshots, instead recreating the analogue circuitry of some of the world’s most coveted tube amps at a “circuit level”.

This deep level of modelling allows players to adjust gain structure, switch between Class A and Class AB operation, and fine-tune amplifier bias in real time – resulting in more nuanced tonal shifts and a more realistic response under the fingers.

A 12AX7 tube is integrated further into the signal path than in previous Valvetronix generations, contributing warmth, natural compression, and that elusive “edge of breakup” sensitivity that responds directly to player touch and guitar volume. VOX says the result is smoother clean-to-crunch transitions and overdrive tones with the sag, bloom, and bite typically associated with vintage tube amplifiers.

Beyond amp modelling, the VT20X and VT40X include a selection of built-in effects inspired by classic stompboxes, allowing players to build complete rigs without relying on external pedals. Both amps are housed in sealed cabinets featuring VOX’s bass-reflex design, intended to deliver fuller low-end response and better projection despite their compact size.

As you’d expect, the amps are well equipped for modern use. Both feature USB connectivity, a built-in tuner, AUX input, and a headphone output for silent practice. The VT20X delivers 20 watts through an 8-inch speaker, while the VT40X ups the power to 40 watts and a 10-inch speaker for additional headroom. Both are finished in the series’ Classic Blue livery, complete with a split-front design and blue grille cloth as a nod to VOX heritage.

“With deeper tube integration, refined circuit-based modeling, expressive tonal flexibility, and practical player-focused features, the new VT20X and VT40X reimagine the hybrid amp experience for a new generation while staying true to the musical feel that made Valvetronix a favorite among guitarists worldwide,” says Vox.

The VT20X and VT40X are available now, priced at $279.79 and $399.99 respectively.

Learn more at VOX amps.

The post “A bold evolution of Valvetronix”: VOX pairs new amp modelling technology with the “authentic feel of classic tubes” in the new VT20X and VT40X appeared first on Guitar.com | All Things Guitar.

“People always like to compare,” Manuel Gardner Fernandes says with an exasperated tone. “I can’t help but wonder if people will think that this record is better than the last one.”

• READ MORE: “My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar

The frontman of German tech-metal favourites Unprocessed insists that isn’t why the band’s new album is presented in a polar-opposite way to the previous one, but it’s clearly something that’s on his mind. The new album is called Angel and comes packaged with a lush blue cover. Put that side-by-side with the last one, …And Everything in Between, and it’s pretty stark. It had a fiery red cover. There was also a song on it called Hell. That’s pretty night-and-day, lads.

That sense of difference extends to the music. …And Everything in Between was hyper-aggressive and riff-based, whereas Fernandes says the new stuff is “song-based”. But, beyond that, Unprocessed are still Unprocessed. They’re still the same mind-bogglingly talented firebrands who’ve racked up millions of social media hits, almost definitely made you feel insecure about your guitar playing at least once, and long since figured their way around a snacky chorus.

“This album isn’t something that turned out super different [to the previous one],” says Fernandes over video call. “…And Everything in Between was, like, very evil. Just, evil packed into nine short songs. This one, it’s a little bit more of a journey. It has a lot of variety and there are more breaks.”

Angel is a smooth-as-silk convergence of tech-metal, prog and R&B. Opener 111 may kick off with a thudding riff and a cathartic scream from Fernandes, but it soon expands into a sensitive, silken chorus, laced with synth. On Beyond’s Heaven Gate, the band kick off with a Polyphia-like prog jam. ‘Far away, far away – we leave only angel dust,’ their singer/guitarist gently croons during the chorus. ‘Far away, far away – we can try, heal your wounds.’ That sense of Unprocessed exploring diversity even extends to the guest stars: Marc “Zelli” Zellweger of deathcore up-and-comers Paleface Swiss snarls his lungs out for Solara, whereas Jason Aalon Butler of Letlive and Fever 333 brings a confrontational rap to Head in the Clouds.

“I still haven’t met Jason personally,” Fernandes admits. “We just know each other online. He actually wanted to do something for …And Everything in Between, but, because of time, he couldn’t do it. I uploaded a clip to Instagram: this heavy, emotional, eight-string riff. He was like, ‘Wow, this is super sick! Let’s do something with it.’ He shared my vision for the whole song.”

In an interview earlier this year, Unprocessed’s drummer, Leon Pfeifer, called Angel a natural “next step” after …And Everything in Between. However, Fernandes disagrees.

“…And Everything in Between had this more shocking factor,” he explains. “We introduced a very thrash metal thing with a song like Thrash, and it had this very viral moment. I was not trying to do something completely different or mind-blowing on this record. My focus on this record was just having nice songs.”

The frontman reveals that that ferocity was inspired by anger over a record label deal gone sour. …And Everything in Between was Unprocessed’s first self-released effort, its 2022 predecessor Gold having come out via Spinefarm.

“Gold took us three years to release,” he explains, “but not because we weren’t ready. And as we got rid of our connection with the label, I just immediately hit my studio and was writing. It turned out to be super heavy.”

Outside of Unprocessed, Fernandes is a social media superstar. In 2019 and 2020, the player gained widespread attention through Instagram, with footage of him playing his instrument at seemingly inhuman speeds going viral. However, it seemed that for every floored fan Fernandes picked up using social media, there was another person insisting that he was faking his chops (he wasn’t). Even though they had no evidence to support their claims apart from the camera-phone footage being a bit fuzzy, they made their protestations very, very public.

“I had a journey with social media,” Fernandes reflects, “and it was kind of compressed into one year of ups and downs. I was just uploading my clips and they were skyrocketing all over social media. But, after that, immediately, I was caught in the middle of a shit storm. After that whole controversy, I was like, ‘Do I even want to be that bedroom guitarist, that social media guitarist? Or, do I want to step back and get my band to where I was as an individual guitar player?’”

In 2023, Fernandes admitted to Guitar that he was scared of being “cancelled” due to all the controversy. As a result, even though he has 311,000 Instagram followers right now, he barely posts videos of himself playing guitar at home anymore. Combine that with the fact that Unprocessed spent plenty of time on the road between …And Everything in Between and Angel, playing shows with the likes of Tesseract and the Callous Daoboys, and it’s clear which route he ended up taking. It makes sense when he explains that he always wanted to be a player in a band anyway.

Fernandes first picked up a guitar when he was three years old. His granddad had been a touring guitarist and, at the time, his dad was a bassist in a thrash band. “He introduced me to Metallica and Iron Maiden,” he remembers. “I’ve been a metal fan since I was born, basically.”

When he was a teenager, he also fell in love with dark electronic music, and he lists Massive Attack and Depeche Mode among his favourite bands of all time. That combo of influences – lightspeed, intricate metal alongside dark, synthy atmospherics – is extremely tangible throughout Angel, with the song Your Dress casting throbbing bass against industrial beats. He started playing in bands at school, and he formed Unprocessed aged 16 with co-guitarist Christoph Schultz, after they both auditioned for a spot in a cover band.

In 2025, that childhood project has flourished into an independent business, putting out albums and touring all over the world. However, Fernandes still finds the same joy in creation and production that has always been there. He also clearly relishes the kind of collaboration that only a band can give, as opposed to being a social media player out there by himself.

“My favourite thing to do still is sitting in my studio and producing music,” he says. “That joy hasn’t changed since the beginning of Unprocessed. The feeling of me bouncing a version of a song to the boys, or showing it to friends and family, that really gives me joy.”

Fernandes may not be hugely active on social media anymore, but he’s still plugged in to what’s going on there, especially what new guitarists are blowing up. So, when we asked him to name the viral players blowing his mind right now, he quickly rattled off a list of names. These are the online virtuosos you should be watching in 2026:

Ando San

“I’ve never seen a guy rapping and thumping at the same time! It’s super sick.”

RJ Pasin

“He’s done incredible things with guitar production. The majority of guitarists probably wouldn’t call him a guitarist in the first place. You can argue he is or not, but this guy is doing something fresh in the music scene. His style is all about production. He’s more a producer than a guitarist, in a way. He’s still doing all these sounds with the guitar that make it special.”

Spiro Dussias

“I don’t know what he’s doing! I don’t know how he is doing that! I came across him on Instagram.”

Ichika Nito

“In the beginning, what made him stand out for me was his melodies. His compositions, I felt that they were almost soundtrack-ish, and I wanted to do that as well. I just love the classy DI sound with a lot of reverb on it.”

Tim Henson, Polyphia

“When Polyphia first came up, I can’t remember the name of the first video I saw, but there was more solo shredding [in their music] back then. Since then, I’ve always checked out what Polyphia are doing. Tim started following me on Instagram, and the first stuff that we did together was the In The Cut video that Tim uploaded to his channel. After that, we did our song Real together with him and [Polyphia bassist] Clay Gober. After that, we went on several world tours and did Die on the Cross of the Martyr, which is probably the biggest thing we’ve done together.”

Marcin

“In 2019, 2020, something like that, he wrote me a message saying, ‘Oh, my hands glitch too [referring to Fernandes’ “sped-up footage” controversy].’ [laughs] Since then, we started doing videos. The stuff that’s super fascinating about him is just his way of using his instruments as a percussive element, which I love. He sounds the same live as he does in his clips, and I love that, as well. He has millions of followers, but he’s also pulling a lot of people live, which is really nice to see. He transferred it the right way, to the live audience.”

Angel is out now.

The post Unprocessed’s Manuel Gardner Fernandes names the viral shredders you need to watch in 2026 appeared first on Guitar.com | All Things Guitar.

Roland has added a further three pedals to its Boss Effects Pedals plugin – the software library available exclusively through the Roland Cloud.

Roland had slowly been releasing more digital versions of Boss’ range of treasured pedals over 2025, with eight arriving back in May last year. The library is now home to a total of 19 of the most well-loved Boss pedals, including the latest three additions – the DM-2, the OD-2, and the DC-2.

• READ MORE: Boss makes a splash ahead of NAMM with new GX-1 and GX-1B multi-effects units, plus a new busker-friendly Roland Cube Street amp

The Boss Effects Pedals plugin brings its compact pedal experience to the world of computer music production, delivering “premium processing” for guitar, bass, keyboards, vocals, and more. And this isn’t the end of it, as Roland has confirmed that this core library will continue to be populated with an ever-expanding selection of models derived from historic Boss hardware.

This trio of new additions brings longtime favourites to the range – the DM-2 was the first Boss analogue delay in the compact pedal lineup, and its retro BBD circuit produces delays that become more saturated with each repeat.

The OD-2 TURBO OverDrive is now onboard, offering two distinctly different overdrive sounds. Its standard mode produces a mild, well-defined overdrive, but switching on Turbo mode will crank things up by activating an independent drive circuit with higher gain and increased presence for heavy riffs and solos.

Completing the flurry of new arrivals is the DC-2 Dimension C pedal, which according to Roland itself, was born by adapting the rack-based Roland SDD-320 Dimension D into a condensed pedal for guitars and other mono instruments. It’s capable of adding depth and spaciousness like a chorus pedal, but its Dimension effect produces minimal modulation to create 3D character while preserving natural tone.

The Boss Effects Pedals plugin is available with a Roland Cloud Ultimate membership, which users can try for free with a 30-day all-access trial. Find out more via Roland.

The post Roland adds three more treasured Boss pedals to its Effects Pedals plugin appeared first on Guitar.com | All Things Guitar.

The NAMM Show 2026 is one of the hottest events in the music industry calendar, as thousands of brands descend upon the Anaheim Convention Center in California to showcase their latest products and innovations. And the big week has finally arrived…

The Guitar.com team is pleased to report that we’ve traded the grey skies of England for the warm Anaheim sun, as we head to NAMM to cover all the biggest guitar gear launches and announcements you need to know about.

The show floor officially opened on Tuesday, 20 January, and we’ll be here until Saturday when doors close trying to visit as many booths and nerd out on as much new gear as humanly possible. While also keeping you in the loop, of course…

And with that, we welcome you warmly to the official Guitar.com Live Blog, which will be updated regularly over the coming days with all the latest news from NAMM 2026 as it happens. Let’s go.

[live_timeline tag=”namm-2026″ first=”15″]

The post NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet appeared first on Guitar.com | All Things Guitar.

Cort Guitars has released a new headless model, the Space G6TR, which it created with playability and tonal flexibility in mind.

The new model is lightweight, offers “confident tuning control”, and unlike the majority of headless guitars, its electronics are centred around a HSS configuration designed for a wider range of playing styles.

• READ MORE: “Our most ergonomic body shape to date”: Eastman unveils the FullerTone Offset, its most player-centric electric yet

Headless guitars are a prominent focus of attention right now, with Ibanez unveiling its brand-new headless Alpha series earlier this month. Cort’s Space G6TR joins a number of other headless models in its catalogue, but is catered for more ease of use and versatility.

It has an okoume body topped with a flamed maple veneer, and has a bolt-on, five-piece roasted maple and walnut neck paired with an ergonomic Ergo V neck profile, measuring 21 mm at the first fret and 23 mm at the twelfth fret.

A 25.5-inch scale length offers familiar tension and response, while its roasted maple fingerboard with a 12–15.75-inch compound radius supports fast playing. The guitar also hosts a PPS nut measuring 42 mm (1 21/32”) in width, a matte neck finish, and is available in Semi-Gloss Lava and Semi-Gloss Lagoon finishes.

The Cort Voiced Tone VTS63 and VTH77 pickup set works with a five-way selector for switching between smooth cleans and powerful leads. Helping to keep things single is also a single volume and single tone layout, and its headless tuning hardware and custom headless tremolo system help to retain tuning stability under aggressive playing, so you can bend and dive as you please.

The Space G6TR is available now for $879.99 USD. You can find out more by stopping by at NAMM Booth #6810, or visiting Cort Guitars online.

The post This headless Space G6TR from Cort launched ahead of NAMM has got the prog lovers on the Guitar.com team salivating appeared first on Guitar.com | All Things Guitar.

If you’ve ever found yourself frustrated when trying to learn a Metallica riff, don’t beat yourself up. James Hetfield has shared that there are two of their own songs he still gets nervous to play, and that each member has their own list of songs they find most tricky.

Metallica are often honest about not always getting things perfect, especially when they’re out playing live and juggling differing setlists. Their colossal M72 world tour, which will resume in May this year, often sees them play two nights with two individual set lists in each city they attend.

• READ MORE: “Not many people want to watch a band stand in front of their amp line”: Metallica guitar tech thinks ditching real amps helped the band improve spectacle of their live shows

Hetfield tells The Metallica Report (via Ultimate Guitar), “We all have our own certain songs that are a little difficult. Moth Into Flame, Master of Puppets, those are two that are, ‘Wow, those are a little difficult.’ I’m sure Lars [Ulrich, drummer] has his list; we all have our list. But we push through, and we help each other with it,” he explains.

On a previous appearance on the same podcast, Hetfield was also open and honest about how they accept and handle any mistakes they make while on the road. “It’s not a mistake, really,” he said. “That word is kind of ridiculous. It’s just a unique way of playing it that night. Everyone gets to enjoy whatever happens right then.

“Frankly, I think it’s a challenge when a song falls apart. It could be devastating to other bands, for us it’s just, ‘Okay, we fucked up! Let’s start it again! Let’s take it from here!’”

Mistakes or no mistakes, even Dave Mustaine, who famously has a fraught relationship with the band, has complimented Hetfield on his playing a number of times over recent years. As a final hurrah before they retire this year, Megadeth released their own cover of Metallica’s Ride The Lightning, and upon confirming the track, Mustaine said he wanted to do it out of respect.

​​In an interview with Rolling Stone, he called Hetfield a “fucking powerhouse” and said he’d “always respected him” as a player: “I wanted to do something to close the circle on my career right now, since it started off with [Mustaine’s band before Metallica] Panic and several of the songs that ended up in the Metallica repertoire, I wanted to do something that I felt would be a good song,” he said.

To find out where you can catch Metallica on tour, head to their official website. 

The post Struggling to nail Metallica’s punishing riffing? Don’t worry, even James Hetfield admits he finds it tricky at times appeared first on Guitar.com | All Things Guitar.

Bourgeois Guitars has teamed up with country artist Luke Bryan to release two new limited-edition models, including an ultra-limited version made with Black Walnut selected from Bryan’s own farm land.

There are just 30 Luke Bryan Signature Limited Edition models available worldwide, and just 100 of the more affordable (but still high-end) Luke Bryan Touchstone Edition – this version is inspired directly by the Lewiston-built original and is crafted with specially selected tonewoods.

• READ MORE: NAMM 2026: what to expect from the biggest music trade show in the world

The origins of this collaboration goes back quite a while ago, as Bryan reached out to Dana Bourgeois (the founder and master luthier behind the guitar brand) more than a decade ago. You may be wondering what took them so long to get to this point, but the long process was intentional.

The journey of making this model was a long labour of love. Work began when Bryan invited Bourgeois to his Tennessee property, Flint Rock Farm, where a ridge above the land is lined with mature Eastern Black Walnut. The pair started tagging trees across the ridge, and later selected choice boards at the sawmill where Bryan’s timber was being processed. Those boards were then cured in Bourgeois’ workshop for a whole decade.

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All 30 of the Luke Bryan Signature Limited Edition models have been numbered and signed by Bryan himself. This guitar is a short-scale Slope Shoulder Dreadnought handcrafted by Bourgeois in Lewiston, Maine. Each guitar is a one-of-a-kind, and is of course, built from the specially selected Eastern Black Walnut harvested from the farm all those years ago.

A torrefied Maine Adirondack spruce top complements the walnut back and sides, and the fingerboard features a custom mother-of-pearl antler inlay. A matching Flint Rock Farm emblem is featured on the headstock, in honour of the early origins of this collaboration.

The Luke Bryan Signature Limited Edition model is available now for $8,999, with the Luke Bryan Touchstone Edition coming in at $3,879. Find out more over at Bourgeois Guitars.

The post Bourgeois Guitars’ limited-edition Luke Bryan signature line is made with Black Walnut hand-selected from his own farm appeared first on Guitar.com | All Things Guitar.

Orange Amps has unveiled a new vintage-inspired single channel amp head, hailed as the “most versatile” it has ever built.

The OR60 is a UK-built, all-valve 60 watt guitar amp head that is voiced to “take boosts beautifully” and is “designed to go hard”, according to Orange itself. Made with premium components, it’s driven by a pair of 6L6 power valves providing headroom and depth. It’s available to pre-order now directly from Orange, with shipping due to commence in spring.

• READ MORE: NAMM 2026: what to expect from the biggest music trade show in the world

Earning this amp Orange’s ‘most versatile’ status is its ability to tweak its controls and sculpt your own tone for whatever genre you’re looking to tackle. Firstly, the head offers a second footswitchable volume control that provides solo cut-through or rhythm / lead switching without touching the gain, leaving the core tone consistent. A switchable 460V / 335V (60W / 30W) output also allows you to push the amp harder at lower volumes.

Further controls for Presence and Resonance offer customisable fine tuning, allowing players to shape the high and low-end power amp stage to suit any cab or room. There’s also a three position Bright switch, allowing you to sculpt the amp’s top-end voicing without affecting the overall gain character. When engaged, it lifts the treble response to deliver extra clarity and presence. When switched off, the tone becomes warmer and rounder.

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Orange Amps’ OR30 amp head was included in our round up of the best tube amps last year, and was specifically selected as our top choice for the loudest tube head. Guitar.com’s Josh Gardner did the testing for this amp and said it “nearly shook my windows out of their frames” – don’t be fooled by its 30 watt power rating.

The Orange OR60 amp head is available to pre-order now for £2,099.00. Find out more over at Orange Amps.

The post “Designed to go hard”: Orange unveils new vintage-inspired single-channel OR60 amp head appeared first on Guitar.com | All Things Guitar.

Squier has announced a broad refresh of its Sonic Series for 2026, doubling down on what the lines does best: accessible, no-nonsense Fender designs at beginner-friendly prices – and with a few new colourways and configurations thrown in for good measure.

Alongside updates to its full-size Sonic guitars and basses, the brand is also expanding its range of compact instruments with refreshed Mini Stratocaster and Mini Precision Bass models.

• READ MORE: “Our most ergonomic body shape to date”: Eastman unveils the FullerTone Offset, its most player-centric electric yet

The Mini Stratocaster and Mini Precision Bass return with the same formula that’s made them popular entry-level choices: lightweight bodies, maple necks with comfortable “C” profiles, and straightforward hardware.

Firstly, the Mini Strat keeps things classic with three single-coil pickups, five-way switching, and a hardtail bridge. 2026 brings new colour options, including California Blue and Sea Foam Green with maple fingerboards, alongside crowd-pleasers like Black, Shell Pink, and Torino Red with laurel ‘boards.

The Mini Precision Bass scales the full-size P Bass down to a 28.6” short scale, pairing a single Squier split-coil pickup with simple volume and tone controls. New for this year is a 2-Colour Sunburst with laurel fingerboard, joining Black and Dakota Red. Prices remain very reasonable, with the Mini Strat at $199.99/£179.99 and the Mini P Bass at $209.99/£189.99.

Elsewhere, the Sonic Series continues to expand into a broad family of Fender silhouettes, all sharing slim “C”-shaped maple necks and lightweight poplar bodies.

The Sonic Stratocaster is offered in several configurations: the classic SSS with tremolo, the hardtail Strat HT for extra tuning stability, and HSS or single-humbucker HT H models for more bridge output. Fresh finishes like Sea Foam Green with maple fingerboard and white pickguard bring a modern twist to the familiar Strat formula. At $249.99/£189.99 across the range, the value is hard to beat.

Similarly, the Sonic Telecaster sticks to Leo Fender’s original recipe – featuring dual single-coils, a six-saddle hardtail bridge, and that unmistakable slab-body feel – while adding new colour options like Canary Yellow to the mix. Meanwhile, the Sonic Esquire H pares things back to a single bridge humbucker, offering a minimalist take on Fender’s earliest solid-body guitar in finishes such as Olive, Ultraviolet, and Arctic White.

Offset fans aren’t left out either. The Sonic Mustang returns with its compact 24” scale length, available with dual single-coils or a pair of humbuckers (HH) for players who want more punch. Finish options include Daphne Blue, 2-Colour Sunburst, Torino Red and Flash Pink, while the HH version comes in Black, California Blue, and Flash Pink.

On the bass side, the Sonic Precision Bass keeps the classic P Bass layout: a single split-coil pickup, four-saddle hardtail bridge, volume and tone controls, and a 34” scale. Priced at $269.99/£209.99, the bass is available in Black, 2-Colour Sunburst, California Blue and the new Midnight Blue.

Rounding out the 2026 updates is the Sonic Bronco Bass ($259.99/£209.99), a short-scale (30”) option that sits neatly between the Mini P Bass and full-size Precision. Lightweight, simple, and now available in Daphne Blue, it’s an ideal choice for beginners or players moving up from mini instruments.

The instruments will be available from July. View the full collection at Fender.

The post Squier Sonic and Mini models get a 2026 refresh – bringing you new colours, new configurations, at the same beginner-friendly prices appeared first on Guitar.com | All Things Guitar.

In the age of AI and overproduction, leaving a few mistakes in your music is becoming a sign of rebellion that declares a real human was behind its creation. Eddie Van Halen was doing it long ago, even when others around him suggested he should fix any blips.

Van Halen drummer (and Eddie’s brother) Alex has been looking back on how the guitar prodigy would ask for his errors to be left as they were, even when the band were working on their mega-hit Eruption. At the time, engineer Donn Landee wanted Eddie to re-do some of his guitar parts — a suggestion he refused.

• READ MORE: Big Wreck guitarist says no one can replicate Eddie Van Halen’s feel, even if they can play his music note-for-note: “It’s just an innate feel. It sounds like he’s smiling”

In an interview with Modern Drummer Official, Alex explains [via Ultimate Guitar], “There are times when we cringe. We go, ‘Man, we could have fixed that.’ And we should have fixed it. But Ed was very much a purist, if you will.

“Like on Eruption, he made a couple technical mistakes, and Donn wanted to fix it. And Ed goes ‘No, no, leave it,’ which I thought was brilliant, because you never relived that moment. And there were other moments on those records.”

And it seems Eddie wasn’t the only one who was happy to leave a few mishaps in their music: “I’m gonna quote something from Dave [David Lee Roth], which is he called it a ‘wabi sabi’ or something,” Alex continues. “It means the imperfections are what make it what it is. And so we left all the imperfections on the records.”

Eddie might be best known for his soloing, having paved the way for tap and shred culture, but his son Wolfgang Van Halen thinks there are other aspects to his father’s musicianship that were often overlooked.

During an appearance on The Cody Tucker Show, Wolfgang said: “I think everybody looks at him as Mr. Tap and he’s Mr. Shred, but I think that’s just like a flavour to what he did.

“I think it’s the fact that he was such a good songwriter and rhythm guitar player which allowed him to be the shredder guy on top of it. ‘Cause there are plenty of people who are just great shredders and they’re just running through scales and stuff, and that’s not as interesting.”

The post “Ed was very much a purist”: Why Eddie Van Halen didn’t re-do technical mistakes on Eruption appeared first on Guitar.com | All Things Guitar.

ESP has unveiled Joe Duplantier’s first signature guitar, more than a year after announcing the Gojira frontman as a signature artist.

Dubbed the JD-1, the single-pickup LTD offset follows the mysterious custom guitar Duplantier wielded during the band’s performance at the Paris 2024 Olympics Opening Ceremony. The model also marks the guitarist’s first official signature release with ESP, following years as a Charvel signature artist.

• READ MORE: “It looks like someone had a Fender Stratocaster described to them and then built their own version”: From Denmark Street to the TARDIS – Peter Capaldi reveals the story behind Doctor Who’s “junk shop” guitar

Described as a “uniquely modified take on the offset XJ shape”, the JD-1 is built with speed, comfort and precision firmly in mind.

It features a mahogany body paired with a thin U-shaped three-piece roasted maple neck, topped with a Macassar ebony fingerboard with pearloid block inlays and 22 extra-jumbo stainless steel frets. The offset body boasts deeply ergonomic contours, reinforced by bolt-on construction at a 25.5” scale for a clean, unobtrusive heel and a lightning-quick response.

Electronics are noticeably stripped back as well. The guitar is powered by a single DiMarzio JD Fortitude passive humbucker (Duplantier’s signature pickup) and is equipped with a Hipshot Tone-a-Matic bridge and tailpiece, a GraphTech TUSQ nut, and LTD locking tuners.

The JD-1’s minimalistic layout extends to its controls, which are kept minimal with just a single volume knob.

Visually, the JD-1 makes a strong statement with its aggressive all-black hardware and scratchplate, coupled with a head-turning Silver Sunburst finish. Each guitar also ships with a deluxe ESP hardshell case.

The ESP LTD JD-1 will be available later this year, priced at $1,799.

Learn more at ESP Guitars.

The post Joe Duplantier’s first ESP signature guitar, the JD-1, makes it debut ahead of NAMM 2026 appeared first on Guitar.com | All Things Guitar.

Eastman has expanded its FullerTone electric guitar lineup with the launch of the new FullerTone Offset, a solid-body model designed with playability, comfort and modern ergonomics in mind.

The new model completes the FullerTone family alongside the existing Single Cut and Double Cut, bringing all three of master luthier Otto D’Ambrosio’s signature body shapes into one unified series.

• READ MORE: NAMM 2026: what to expect from the biggest music trade show in the world

Positioned as Eastman’s most player-centric electric to date, the FullerTone Offset pairs a newly developed offset body with updated hardware, electronics and the company’s proprietary two-bolt neck system – giving it a “player-first design with just the right amount of edge”.

The Offset’s sleek, curvaceous silhouette is also described as the most ergonomic body shape Eastman has produced to date. Developed in close collaboration with guitarist and YouTuber Paul Davids, the design draws directly from real-world playing experience, prioritising balance, comfort and extended playability. Sleek, sculpted contours and a beveled back allow the guitar to sit naturally against the body whether standing or seated, helping to reduce fatigue during longer sessions.

“It was a sheer pleasure working with Paul Davids to gain his player’s perspective on the Offset,” says Eastman’s Director of Fretted Instruments, Pepijn ’t Hart. “While every player has different preferences, his insights and direction helped us create our most ergonomic body shape to date.”

As with the DC and SC models, the Offset features Eastman’s proprietary two-bolt neck design. The long-tenon construction increases neck-to-body contact to enhance resonance and sustain, while allowing precise adjustment. A smooth, unobstructed heel further improves upper-fret access, contributing to a stable and responsive playing feel.

Spec-wise, the FullerTone Offset sports a roasted black limba body, a roasted maple neck and a rosewood fingerboard, alongside a 12” fingerboard radius, 25.5” scale length and a silver anodised aluminium pickguard.

Electronics come courtesy of Tonerider soapbar-sized humbuckers with goldfoil covers, chosen for their warmth, clarity and articulate response, while a Göldo DG tremolo handles vibrato duties, promising smooth operation and stable tuning. Controls include a three-way selector switch.

The FullerTone Offset is available in Dakota Red and Gold finishes. “Our goal was simple: shoot for the stars and build a guitar too good to be true, too good to be put down,” says Eastman.
Priced at $999, the FullerTone Offset will be available this Spring through Eastman Authorised Dealers worldwide.

Learn more at Eastman.

The post “Our most ergonomic body shape to date”: Eastman unveils the FullerTone Offset, its most player-centric electric yet appeared first on Guitar.com | All Things Guitar.

£1,599/$1,999, voxamps.com

Aside from fellow Brit brand Marshall, there is no more iconic guitar amp manufacturer than Vox. The company that became an icon backing up the Beatles and countless artists since has the rare distinction of giving birth to a vernacular. You talk to a guitar player about “the Vox sound” and they invariably know what you’re talking about – jangly, chime-y, clear, and treble-focused – and it’s one of the staple sounds you’ll find on any modelling amp for that exact reason.

• READ MORE: Lazy J x ThorpyFX The J review: “one of the best sounding, most tactile and responsive dirt pedals I’ve ever played”

Despite this almost unparalleled heritage, the Vox brand has endured a turbulent history. It had huge success in 60s, before the company cycled through a variety of owners in the 70s and 80s, ending up as part of Japanese music giant Korg in 1992.

In the last 30 years under Korg’s stewardship, the brand has undergone a period of renewal, innovation and expansion – including the hugely popular Valvetronix modelling amps, and a bunch of hugely popular Asian-made PCB versions of its classic valve amps.

For many players, however, there is nothing quite like an AC amp made using the classic point-to-point techniques that original Vox design genius Dick Denney practised when he was building the amps that powered Lennon, Harrison, May and scores of others to rock stardom. And for that, you need to look at the Hand-Wired range.

Vox AC15 Hand-Wired – what is it?

The Hand-Wired series is designed to replicate the original Vox amps as precisely as possible. They’ve earned a great reputation because of this, and that’s perhaps why they don’t get updated very often: it’s been 15 years since the last refresh.

But when it does tweak things a little, the results are well worth a look and listen – and so I’m checking out the refreshed AC15 here. Why the AC15, when the AC30 is of course the most iconic and beloved of all the Vox amps?

Well, here in 2026, the opportunities for many of us to blast an AC30 as designer Denney almost certainly never intended are few and far between. The AC15 offers a nice middle-ground.

It’s not nearly as back-breakingly heavy as its bigger sibling, nor as impolite in a small gig situation, but it offers a bit more clean headroom at higher volumes than the smallest amp in the Hand-Wired range, the AC10.

So what’s new with the HW this time around? Well, Vox describes these amps as a painstaking recreation of 60s-era British chime, but with modern refinements.

The biggest difference to the previous generation of Hand-Wired amps is the cabinet – fawn tolex–adorned amp of yore, and in its place is a cabinet that’s been meticulously recreated based on its 1963 counterpart.

The changes are not just skin deep either – the 12mm birch ply cabinet is a precise recreation of the 1963 model’s dimensions, and is designed to capture the three-dimensional feel of its vintage predecessor.

You’ll also find an era-correct copper panel on top, and like previous models, the innards are all hand-wired internal, and paired with custom-wound, vintage-aping transformers. Round the back you’ll find a single 12-inch Celestion Alnico Blue speaker (a Greenback version has also just been announced) – it’s a trusty and classic combination.

As is tradition, you’ll find two channels here. The Normal channel delivers a warm, midrange-forward voice, with a Bright switch for added top-end clarity. Then you have the iconic Top Boost channel, which gives you the more aggressive, edge-of-breakup side of the amp. Both of them are now complemented by a new tube-driven spring reverb tank.

Vox AC15 Hand-Wired – sounds

You know what to expect when you plug a Jazzmaster into a Vox amp – or I certainly do anyway – and running into the AC15 Hand-Wired is a familiar but no less grin-inducing experience. That clean jangle that has made so many records come alive is present and correct.

Dialling in a bit of the lovely new valve-spring reverb, and we get all the things you’d hope for from a really good Vox amp. It’s three-dimensional, articulate, and rich with midrange warmth that cuts through a mix.

Switching over to the Top Boost circuit delivers an edge-of-breakup tone that’s dirty yet sonically pleasing to the ear. It offers more grit without ever sounding muddy. But how does it react to full-on drive? Plugging in a new Strymon Fairfax, I can confirm it takes it like a champ.

The response is clear, articulate, and never feels compressed or overly sharp, while the midrange emphasis strikes a great balance between highs and lows without becoming boxy or wooden-sounding.

Arguably, where the AC15 hand-wired excels most is as a pedal platform. It sounds great by itself of course, but is a perfect clean bedrock to your NASA-sized pedalboard.

Running a Deluxe Memory Man–style delay through it is an easy reminder of why the AC15 has long been an auditory staple for players like The Edge. Further experimentation with pedals like the Microcosm by Hologram Electronics or the Lost + Found by Chase Bliss shows that the Celestion Alnico Blue is no slouch when it comes to handling the low-end, near–synth-like frequencies these pedals are more than capable of producing. It never once “flubbed out” in its low-end response.

Vox AC15 Hand-Wired – should I buy one?

So, is the new Hand-Wired a Mega Man X-style upgrade – one that meaningfully improves on the limitations of its predecessor? It’s an invariably subjective thing, but in my mind, you can feel and hear the improvements.

The new hand-wired series represents a bold step forward, offering a faithful recreation of one of the most historically significant amplifiers in rock ’n’ roll history. It delivers the chime, it delivers the dirt, and it noticeably improves upon the shortcomings of its predecessor.

Like most remasters, this isn’t about reinventing the wheel. But for players seeking authentic Vox chime, this is one of the best options you should consider.

Vox AC15 Hand-Wired – alternatives

The iconic nature of the Vox sound means that there are a wealth of rather impressive boutique versions that cost a pretty penny – specifically the Matchless Nighthawk 15 ($3,191/£2,995), Dr. Z Z Wreck Combo ($2,749) , and the Morgan Amps AC20 ($1,699). If you want the vibe without the vintage-style construction, the standard Vox AC15C1 ($999/£679) will certainly get you a lot of the way there. If you want the Vox badge but don’t mind trying a modelling option, the Vox VT100X ($679.99) is another option.

The post Vox AC15 Hand-Wired review – “all the things you’d hope for from a really good Vox amp” appeared first on Guitar.com | All Things Guitar.

Sweetwater is offering a range of deals across Positive Grid’s product line, including a generous $110 off its Spark LIVE combo amp and PA system.

The Spark LIVE is a 150-watt four-channel combo amplifier and PA System all in one. We included it in our round-up of the best amplifiers for all styles and budgets last year, highlighting it as the best choice for buskers and players on the go. We even scored it a flawless 10/10 in our original 2024 review.

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The Spark LIVE is not just a “big Spark”. It hosts Positive Grid’s Sonic IQ technology making it pack a punch, which is essentially a combination of hardware and software technologies such as dynamic range compression, vocal clarity enhancement, virtual bass augmentation and more, all driven by a computational audio chip.

• READ MORE: NAMM 2026: what to expect from the biggest music trade show in the world

Across its four channels, it covers pretty much all instrument types: Channel 1 covers guitar, Channel 2 focuses on vocals/bass/acoustic-electric guitar, and Channels 3/4 are equipped with stereo direct-ins for keyboards, computer audio, and pedalboards.

Just like the rest of Positive Grid’s Spark ecosystem, it pairs with the free Spark Companion app (available on Channels 1 and 2 with eight onboard programmable presets per channel) so you can access emulations of 33 classic amp models and 43 effects.

Find out more in the video below:

The Spark LIVE is one of many great Positive Grid deals on Sweetwater right now, where you can also grab the compact Spark GO combo amp for just $119, and the portable smart amp and PA system, Spark EDGE, now reduced to $359 (saving you $90).

Shop these deals and more now via Sweetwater.

The post We called Positive Grid’s Spark LIVE “a radical leap forward for performers” – now it’s on sale with $110 off appeared first on Guitar.com | All Things Guitar.

Mateus Asato’s long-awaited debut album, ASATO, finally has a release date: 27 February, 2026.

The Brazilian-born virtuoso has enjoyed a massive social media following for years, and ASATO marks his first full-length album of original songs.

• READ MORE: “‘Single’ and happy where I am at this point”: Mateus Asato addresses rumours of him joining Fender following Suhr exit

Coinciding with the announcement, Asato has shared the first single from the album, HENDRIX, an instrumental song inspired by late guitar icon Jimi Hendrix.

“Everything started after a late night thought I had in my studio while trying to make another song for my debut album: ‘If Hendrix were alive today and we were friends… around the same age… how would he write an instrumental song?!’” Asato says.

“After that, I had a song in 20 minutes. Everything simply just came out and I felt like a vessel receiving melodies from above. A unique experience.

“But this thought only happened after reading two books of his biography. Being completely inspired by it – I had no choice but honor the greatest guitar hero in history in my opinion.”

“His passion & faith through music, his sense of feeling things. One of the things that captivated me the most about his books was the story that “he’d always use his broom while cleaning his house pretending it was a guitar when a solo was being played on the radio”. Jimi was an eternal dreamer. Jimi truly believed music had supernatural powers — and that’s why his legacy shall remain.

“This song might not relate much to Hendrix’s music in technical structure, and that is not my intention here. This is just a title of gratitude to the one who changed my perspective of playing the guitar.”

ASATO is an album rooted in the musician’s quest to show instrumental music isn’t “missing something” without lyrics. “Sometimes the point of a message is its own subjectivity,” he says. “Like an abstract painting with no description.”

It also marks the moment Asato finalises his transition from a six-string sidekick – working alongside the likes of Bruno Mars, Jessie J and Silk Sonic – to a fully-fledged solo artist.

Mateus Asato recently made waves when he announced he was parting ways with longtime guitar brand and collaborator Suhr Guitars. Fans quickly began to speculate as to whether he was about to partner with another brand, but for now, he says he’s “‘single’ and happy where I am”.

ASATO arrives 27 February. Learn more at mateusasato.com.

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