Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
General Interest
PRS Guitars Announces New Limited Silver Sky Colorway
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.
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PRS Silver Sky Limited Edition Electric Guitar - Wild Blue
The Wood Wants to Speak: The mandolin-building team of Will and Wes Wienman
In Valley Hill, North Carolina, 20 miles outside of Asheville, Will and Wes Wienman have quietly but quickly carved out a niche as highly respected mandolin builders. Referring to their sound and process as “Vintage by Design,” the first mandolin to leave the confines of their home shop made it into the hands of Jarrod Walker, mandolinist for Billy Strings, and they’ve been off to the races ever since.
The Wienmans’ music history goes back to the 1970s, when Will Wienman’s fascination with violins got him started as a violin dealer and repairman after college. Annual trips to the largest violin auctions in the country introduced him to a wide variety of violins. At the same time, he was learning about and acquiring mandolins, mandocellos, pre-war guitars and all manner of history’s best offerings from Gibson and Martin, as well as then-new-on-the-scene builders like Gilchrist. In the early 1980s, when his son Wes was an infant, Will acquired a 1924 Gibson Loar F-5—an early version with the fern headstock inlay—that would make its way into George Gruhn and Walter Carter’s Acoustic Guitars and Other Fretted Instruments. Though he eventually sold the Loar, Will always maintained an interest in the voice and construction of mandolins.
The idea of building professional-level mandolins had been in the back of Will Wienman’s mind for decades, ever since building his first mandolin in the late 1970s. He knew he’d need help, because he doesn’t believe he has all the attributes he considers required to turn out the master-quality instruments he envisioned (almost infinite patience, steady hands, the ability to spend countless hours in the shop day in and day out). Regardless, he was bitten by the bug and continued studying and experimenting with instrument sound, primarily by re-graduating, voicing and fitting bass bars inside over 100 violins. He even built a mandolin that had an easily removable top so he could change one aspect of the instrument at a time and observe the results. He also started buying high-end spruce and maple in the early 2000s, knowing that one day he’d find the partner who could bring to life the sound and design Will envisioned. At the time, Wes was a teenager with little interest in building mandolins.
Fast-forward to 2014, and Will had relocated to western North Carolina, living on his own in a house with a workshop, lots of tools and lots of aged tonewoods. Wes was in his early 30s and living in Florida, but he was open to a change of scene. The two began exploring the idea of making mandolins, and soon Wes joined his dad in North Carolina.
Will and Wes have fairly different personalities yet complementary skills, which is apparent when they are interviewed together. It becomes clear that their partnership building mandolins is about more than familial convenience. Speaking to Wes, Will notes Wes was always “fascinated by sound.”
“Let’s be honest—you turn your own drum edges. You shape your own piano felts. You mod your own microphones.”
Wes began to think about his own skills and dispositions: “People have to do things for a living, but it turns out I was fired from every desk job I ever had.” He nonetheless realized that he has a deep capacity for focusing on one thing for long stretches of time—the kind of patience required for building carved instruments. “You can’t be in a hurry. You can’t get mad at inanimate objects.”
Will agrees. “His ears are really good. His hands are really steady. He’s really good with numbers, he can envision the geometry of 3-D shapes, and he’s really meticulous. And he’s absolutely relaxed about going slow and getting things right. And that’s what it takes to build a mandolin. If you’re going to build something really good, you just gotta be willing to stick with it.” Some of those things are likely natural gifts. And some are probably the product of osmosis from growing up in a household with a violin dealer and instrument repairman.
Regardless, with more than a hint of sarcasm, Wes responds, “So I figured, what better to do in my mid-30s than move up here and move in with my dad?”
Building Mandolins
The Wienmans’ workshop is full of the usual tools (many hand-made to accomplish specific tasks), dehumidifiers, jigs and raw materials that high-end luthiers are expected to have. But there is also a sizeable collection of files and pictures and historical materials about artisan-made instruments. Plaster casts of early 20th-century Gibsons. Graduation maps and technical drawings of several Loar mandolins. Tracings of various holy grail instruments. Files full of notes about world-class mandolins from the Loar era to the present. A perfect lab for Wes and Will to begin the inductive process of designing and building modern instruments inspired by vintage tone. There’s a reason the Wienmans call their mandolins “Vintage by Design.”
While Wes honed his artisanal skills, Will was involved in the big picture: “I knew how the tops should be graduated, how to get the tone bars to fit, what kinds of wood to use, how to tune the wood to itself…and the finish.” Basically “how to know when the wood wants to speak.” Wes likens those first years that he was in the shop to an anecdote in Ravi Shankar’s book about playing sitar: “He was recounting how he learned, and the first thing they would make you do is learn to sit in a lotus position for like a year, before they even put a sitar in your hands.” The first two years or so were dedicated to planning and design and good old trial and error. After a while, “we thought that, once we spent this much time doing it, we might as well spend even more time doing it, just to see it through. I knew it could be done. I knew we could do it. I just knew it.”
Spending time with the Wienmans, it is evident that this is much more than a business venture. Their partnership is fundamentally existential and based on intuition, rather than based on a business plan designed by an MBA. They didn’t start doing this to provide something no other builder was doing, or to take advantage of a market inefficiency or opportunity. Instead, Will says, “I know how it feels to have an instrument that just inspires you. I know what it is like to have an instrument in your hands that will do whatever you ask it to, whenever you ask it to—one that, when you play it, you find yourself doing things you didn’t even know you could do. That was my vision and my passion, and I knew we could do that.”
The Loar Mystique
One model of mandolin looms large over any builder of high-end mandolins primarily used for bluegrass: the F-5 model designed by Gibson, and more specifically, the 250 or so F-5 mandolins built under the oversight of Lloyd Loar in the early 1920s. Advertisements and forums and review videos are replete with strong opinions about how similar a particular modern mandolin may be to these mythic forebears. As for the Wienmans, while the majority of their mandolins built to date are heavily influenced by and in the Florentine F-5 style of the 1920s, there is a lot of nuance to how they think about the influence of Loar mandolins on their process.
“I’ve owned a ’24 Loar and have been studying them since about 1978,” says Will. And along the way he had friends with several Loars that he had the opportunity to measure and examine closely. Comparing these Loars side by side (and more since), Will was astounded how different they can be instrument to instrument—not only in voice, but also in construction. “I’m seeing these minor differences in the graduation of tops, side depth, break angle, neck shape and the arching of the back from Loar to Loar.” The real eye-opener for Will was when he had the opportunity to study six Loars at the same time: “They all had something special, but they were all a little different.” Accordingly, you’ll never hear the Wienmans say their mandolins are “built to Loar spec” (though that won’t keep you from finding the occasional aftermarket listing of a Wienman that describes it that way…).
“If you want to build an instrument that responds like a 100-year-old instrument within just a few years, you can’t build it like it was built 100 years ago,” says Will. This has led Will and Wes to slightly deviate from some of the most general Loar specs: The plane of the arching is different, the break angle and the way the neck attaches are different, the necks tend to be thicker and less v-shaped, and they tend to carve tops so that the symmetry of the graduations are different than those observed in many Loars.
“In general, I’d say that those early Florentine examples followed more of the German school of violin making, whereas our mandolins are influenced more by the Italian school. Regardless, what we really wanted was that response and that power and the ability to finesse” that the best Loars have, and they believe the trade-offs above help them find the sound that has made their F-5 Artist mandolin model so desired. Without a doubt, their admiration for the Loar era of mandolins is evident in every mandolin they have built, including recent mandolins modeled from the voices of some very specific Loars.
The First Wienman Sale
The story of how the Wienmans sold their first mandolin is one of those amazing quasi-mythical stories that seems possible only in Nashville, especially when told by Will Wienman, but it’s true.
“To our ear, we thought our first three mandolins were just incredibly responsive and balanced and powerful, but we’re not professional players. We thought the finish was good too, but you know…we were in a bubble. So we went to Nashville because we wanted to see how our mandolins stood up against all of the mandolins. We had no intention of going to Nashville to sell mandolins. As a matter of fact, none of those first mandolins even had labels in them.
“We made an appointment with George Gruhn at Gruhn Guitars. When we got there, he sent Greg Voros, one of the managers at Gruhn, down to look at our mandolins. He looked at our F-5 mandolin, then he went away and he came back down and said, ‘George wants to see your mandolin. Come back after lunch.’”
When they returned, after a few hours of George Gruhn and the Wienmans comparing their mandolin to a few Loar-era F-5s kept in the famed upstairs of the shop, and George giving them some good-hearted grief about their unrecognizable name on the headstock and a few differences in arching and F-hole shapes, George continued with his obvious interest in the Wienman mandolin. Before they knew it, it was closing time at Gruhn and George asked if he could take one of their mandolins backstage to the Opry that night to show it to some friends. Not wanting to miss the opportunity for their mandolin to get in the hands of seasoned players, the Wienmans quickly filled out a consignment sheet with George, left one mandolin with him and drove themselves and their other two mandolins back to North Carolina.
Legend has it a number of luminary players enjoyed the mandolin left behind in the care of Gruhn. But ultimately, about a month later, Jarrod Walker walked into the upstairs of Gruhn Guitars and made a connection with that Wienman F-5. This was after Jarrod’s stint touring with Claire Lynch and just before he got fully underway as the mandolinist for Billy Strings. Jarrod promptly shot off a message to the Wienmans: “I’m excited to say that I bought your mandolin from George Gruhn today! George took me upstairs and we A-B’d yours with three Loars, a Monteleone, and a handful of Gilchrists. I can honestly say that I preferred the tone of the Wienman over all of them with the exception of one Loar. Even that was a close call. Unfortunately I was short $160,000. I took the instrument home on loan last night, and in the several hours that I played it, it dramatically opened up. The mid-range is out of this world. Balanced, responsive and immediate…I know a good mandolin when I play one, and this one has something special.”
It’s certain that none of the Wienmans or George Gruhn or Jarrod Walker knew that this same mandolin—the Wienmans’ first F-5 (still without a label!)—would, within a few years, be played in arenas and stadiums for hundreds of thousands of fans a year, given the meteoric rise of Billy Strings. Regardless, they all knew that mandolin—and the way the Wienmans were building—was something special.
The Wienman Process: Then and Now
Talking with the Wienmans makes it evident that the combination of Will’s eye for design and Wes’ hands have worked in concert to build mandolins that are consistent from instrument to instrument, both in terms of aesthetics and sound.
Will’s experience in the vintage instrument world over decades has given him an intuitive sense of all manner of instrument design features. And while Will focuses on design ideals, Wes focuses on the slow manual labor required to execute the vision: “It boils down to the pressure of imagining what it’s like to spend so much on an instrument and what [the buyer] expects from it, because I’ve never spent that much on an instrument.”
This combination of the ideal and the practical go hand in hand for Will and Wes. For example, when it comes to knowing when a mandolin is finished, Will says, “When that carved top gets to the point where it wants to speak, then that’s where we slow down…when it really wants to speak, we set it aside and we make tone bars for it. And then we work the tone bars until they really want to speak with the top…and then you get the tone bars talking with each other in this real harmonious, nice sound.”
Wes saw things pretty differently, especially early on: When it comes to carving those last thousandths of an inch from a mandolin top, “you’re inside a cloud of anxiety, and at some point you just have to trust your ears and take it right to the edge but not go over.”
However, in building mandolins full-time since 2017, their process has brought about a consistent product and tone, coupled with those initial aesthetic ideals and meticulous focus. Since those early days, they’ve found efficiencies, built jigs and acquired specialized tools, but it’s still a highly manual process that is a lot more art than science.
At the end of the day, a Wienman mandolin is about Will and Wes’ collective experience, applied to pieces of wood that are by their nature unique, until the point when the wood speaks to them.
Photographs by Trevor Anthony
The post The Wood Wants to Speak: The mandolin-building team of Will and Wes Wienman first appeared on Fretboard Journal.
Guild unveils two new “accessible” 12-string acoustics, the F-412 and F-412E Standard
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.
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.
Credit: Guild
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.”
Credit: Guild
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.
“A more compact form without compromise”: Neural DSP downsizes its flagship Quad Cortex with the smaller but equally powerful Quad Cortex Mini
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?
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.
Credit: Neural DSP
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.”
Credit: Neural DSP
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.
Rig Rundown: Bryan Adams
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.
Pro Pedalboards 2026!
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.
Great Acoustics—The Collings Custom ‘Austin City Limits’ C10
PRS taps Ed Sheeran for limited-edition “Cosmic Splash” signature model – featuring the superstar’s own artwork on its body
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.
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.
Credit: PRS
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.”
Credit: PRS
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.
“A bold evolution of Valvetronix”: VOX pairs new amp modelling technology with the “authentic feel of classic tubes” in the new VT20X and VT40X
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.
Unprocessed’s Manuel Gardner Fernandes names the viral shredders you need to watch in 2026
“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.”
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.”
Image: Press
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.
Unprocessed and Zelli. Image: Press
“…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.
Manuel Gardner Fernandes (right) and Zelli (left). Image: Press
“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.”
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Wizard of Odd: An Ode to Hot Rods and Seymour Duncan
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!
Roland adds three more treasured Boss pedals to its Effects Pedals plugin
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.
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.
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Guild Debuts American-Made F-412 Standard Jumbo12-String
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
Who's No. 1? Let the Debate Begin!
PG's video crew discuss & debate what band has rocked the U.S. music scene the most in the last 75 years.
D’Addario Introduces the Micro-Fiber Polishing Mitt
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
PRS Guitars Announces SE Ed Sheeran “Cosmic Splash” Limited Edition
PRS Guitars today announced the SE Ed Sheeran “Cosmic Splash” Limited Edition guitar. Designed in collaboration with Ed Sheeran, this SE Hollowbody I Piezo Baritone model marries Sheeran’s passion for songwriting with his offstage love of painting. The SE “Cosmic Splash” model features the exact design from one of Sheeran’s 2025 Cosmic Carpark paintings, a series of original artworks he sold last year to raise funds for the Ed Sheeran Foundation. As an added bonus, every guitar will ship with an 8” x 8” print of the same Cosmic Carpark painting that is on the guitar body, hand signed by Ed Sheeran. Only 1,000 pieces will be available worldwide. This is the first PRS collaboration with Sheeran that is available for purchase. It is also the first-ever hollowbody baritone in the PRS catalog.
The fretboard inlay is a nod to the musician’s new “Stereo” album series– Play, Pause, Rewind, Fast-Forward, and Stop – with the Play icon also featured on the truss rod cover.
"I started painting as a way to stay creative when I am off the road,” said Ed 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.”
The SE Hollowbody I guitar features the PRS/LR Baggs Piezo system, 85/15 “S” pickups, and a 27.7” baritone scale length. Players can isolate or blend the piezo’s acoustic voice with electric power for myriad creative options. The slimmer, contoured “flatback” design of the Hollowbody I melds the back design of an electric guitar with the rich, open tone and airy acoustic depth of a hollowbody. The full rundown of specs is available on prsguitars.com.
This is not the first time PRS has worked with Sheeran to create a unique guitar. Last summer, the collaboration led to a one-off SE Hollowbody Baritone custom painted and featured in the video for Sheeran’s song “Drive,” written exclusively for the soundtrack to the Apple Original Films’ blockbuster “F1: The Movie.” Sheeran has been playing PRS for his choice of electric guitars since 2018. He currently has a Hollowbody II in a Prism Dragon’s Breath finish with bing cherries on the fretboard, a one-off purple Silver Sky gifted to him by John Mayer, and a stock Custom 22.
For all of the latest news, click www.prsguitars.com and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.
SYNERGY Amps Releases the All New SYN-20IR 1x12 All-Tube 20 Watt Combo
Synergy Amps proudly announces the SYN-20IR 1x12” Combo Amp, a compact, USA-built powerhouse that delivers a full collection of iconic amplifier tones in one versatile design. In a milestone first for the company, Synergy also introduces the SYN-20IR Combo Custom Shop, offering players custom-finished options that pair world-class tone with personalized aesthetics.
Designed and built in Commerce, California, the SYN-20IR Combo combines Synergy’s modular all-tube platform with a Celestion Vintage 30, delivering authoritative tone, dynamic response, and unmistakable feel. At the heart of the amp is Synergy’s acclaimed swappable preamp module system, allowing players to access an expanding lineup of legendary amp voices—without replacing their amplifier.
Engineered for modern players, the SYN-20IR features selectable power-amp modes, low-latency onboard IRs, silent play capability, and full MIDI control, making it equally at home on stage, in the studio, or in a quiet practice environment. The result is uncompromising tube tone with the flexibility today’s sessions and performances demand.
With the introduction of the SYN-20IR Combo Custom Shop, Synergy brings a new level of individuality to the platform. Players can now choose custom finishes that reflect their personal style while retaining the boutique craftsmanship, USA-built quality, and stage-ready versatility that define Synergy Amps. It’s a distinctive new chapter for the SYN-20IR—where iconic tone meets custom expression.
About Synergy Amps
Synergy Amps is the leader in modular tube amplifier technology, bringing together iconic amp designs from the world’s most respected builders. Handcrafted in the USA, Synergy products empower guitarists with unmatched tonal flexibility, authentic tube feel, and uncompromising sound quality.
For more information, visit synergyamps.com or contact Synergy Amps, Commerce, California.
The Joy of Using a Spokeshave That You Made
“Traditional methods endure because they always have worked and they always will.”
Roy Underhill, The Woodwright’s Eclectic Workshop, 1991
There was a day several years ago, when I pulled out two blanks of wood from my wood cache, one was California laurel and the other was black cherry. I had two small Hock tool spokeshave blades, I made the laurel blank into a flat sole shave, the cherry blank got a rounded sole. Both have an East Indian rosewood wear plate and both use set screws to adjust the blade’s depth of cut.
I used both shaves to refine the heel on a neck for a steel string acoustic guitar that I am making, the above photo shows the laurel shave in action on the neck shaft, the cherry shave is on the bench next to a carving knife with an extra long handle. That knife I also use to shape the heel of the neck.
It’s pretty fun to use a tool that you made, and that it really works!
So, take time today to get out into your shop and make that hand tool you have always wanted!
Cort Guitars Introduces the Space G6TR Headless Electric Guitar
Cort Guitars announces the launch of the new Space G6TR, a headless electric guitar created for players who demand light weight, perfect balance, fast playability, and modern tonal flexibility. Built for real-world performance situations and crafted with custom hardware developed specifically for its design, the Space G6TR delivers stability, travel-friendly practicality, and confident tuning control. Available now worldwide through local retailers and online, it brings players an advanced instrument designed to inspire, with the goal of combining expressive feel, sonic range, and stage-ready reliability.
The Space G6TR features an okoume body topped with a flamed maple veneer, presenting a striking look paired with resonant tone. Its bolt-on, five-piece roasted maple and walnut neck is built for strength and stability while keeping a comfortable feel, paired with an ergonomic Ergo V neck profile that measures 21 mm at the first fret and 23 mm at the twelfth fret. A 25.5-inch (648 mm) scale length ensures familiar tension and response, while the roasted maple fingerboard with a 12–15.75-inch compound radius supports fast, accurate playing across all 24 stainless steel tall medium-jumbo frets. Black dot inlays are complemented by luminous side dots for visibility in dark performance environments. The guitar includes 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.
Electronics are centered around an HSS configuration designed to deliver range and clarity. The Cort Voiced Tone VTS63 and VTH77 pickup set works with a five-way selector to provide access to a wide spectrum of tones, from smooth cleans to powerful leads. Simple, intuitive control is supported through a single volume and single tone layout, keeping the focus on musical expression while offering tonal versatility suitable for multiple genres and playing styles.
Hardware has been purpose-built for this model, with specially designed headless tuning hardware and a custom headless tremolo system created to provide expressive pitch control while keeping tuning stability and reliability under aggressive playing. A proprietary headpiece and tailpiece system enhances long-term performance, while a two-way adjustable truss rod with spoke-nut access supports easy setup adjustments. The guitar ships with D’Addario EXL110 strings, features black hardware, matte neck finish, and includes a gig bag.
For additional details and images of the new Cort Space G6TR, please visit NAMM Booth #6810 or online at www.cortguitars.com.
Street Price: $879.99 USD
NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet
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.
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