General Interest

Connecting the worlds of pedals and plugins together with ease is the new Electro-Harmonix Effects Interface Hardware Plugin. Bringing universality to their Hardware Plugin concept, the Effects Interface allows the user to turn pedals into a plugin, or plugins into a pedal, while also being equipped as a 2-in/2-out interface. This pedal makes it easy to incorporate a whole pedalboard into your DAW session or incorporate plugins into your live setup for a completely hybrid rig with out the need for any additional converters or specialty equipment.

The Effects Interface operates in three distinct modes: Hardware Plugin Mode, Pedalboard Mode, and Interface Mode.

• Hardware Plugin Mode – Connect pedals to the Effects Interface’s loop and open the plugin in your DAW. Audio from your track will run through the pedals in the loop. Add your favorite pedal to single tracks or full bus mixes.
• Pedalboard Mode – Run input signal through plugins in your DAW and back out to your pedalboard or an amp through the Effects Interface. Place a plugin effect into your physical signal chain. Also useful for simple guitar re-amping.

This pedal-plugin pandora’s box ships with standard EHX 9 Volt power supply and USB-C cable, is available now and has a U.S. Street Price of $359.

VOX announces the global debut of the AC30 Hand-Wired Amplifier Head and the matching V212 Hand-Wired Cabinet, two meticulously crafted additions to the company’s legendary AC Series. Engineered for serious players, recording engineers, and tone enthusiasts, these new models revive the spirit of the 1960s AC30 while delivering the reliability, flexibility, and performance demanded on modern stages and in contemporary studios. By faithfully reconstructing the original design, employing hand-wired circuitry, custom transformers, tube-driven spring reverb, and vintage-accurate cabinet construction, VOX has created a head-and-cabinet pairing that brings timeless tone squarely into the present day.

Few amplifiers have shaped music history like the VOX AC30, and the new AC30 Hand-Wired Head has been developed to honor that legacy with extraordinary attention to musical feel and authenticity. Designed as a complete reconstruction rather than a simple reissue, it features hand-wired circuitry and custom transformers, supported by modern refinements including a master volume that can be fully removed from the circuit when engaged at maximum setting, a transparent and fully bypass-able FET-buffered effects loop, and a custom-voiced spring reverb driven through a dedicated tube stage. Every element has been engineered to ensure that the unmistakable sound of a true vintage VOX experience is delivered with consistency and reliability.

Central to the amplifier’s sonic character is its 30-watt EL84 power section, supported by a GZ34 rectifier and a carefully developed power circuit designed to recreate the distinctive voltage “sag” that influences dynamics, sustain, and playing feel. The amp retains the expressive phase inverter behavior that contributes to the AC30’s complex harmonic response when pushed, offering the touch sensitivity, openness, and natural compression associated with sought-after early-1960s examples. A custom-wound output transformer further shapes the amp’s dimensional tonality, delivering bell-like highs, defined midrange character, and the layered harmonic bloom that players associate with classic VOX heritage, while keeping modern noise performance and stability.

The AC30 Hand-Wired Head offers two defining VOX channels. The Normal channel delivers warm, articulate tone with the choice of adding extra brilliance via a Bright switch, making it equally suitable for single-coil or humbucking pickups. The Top Boost channel provides the chime, clarity, and dynamic drive that has defined generations of British rock, with independent Treble, Bass, and Volume controls enabling precise tonal shaping from shimmering cleans to expressive vintage crunch. Supporting features include tube-driven reverb with Level and Tone control, footswitchable bypass, and versatile speaker outputs with compatibility for both 8- and 16-ohm cabinets. Measuring 27.76 by 10.35 by 11.89 inches and weighing 43.43 pounds, the amplifier is built with premium tubes including four ECC83/12AX7 preamp tubes, one ECC81/12AT7, four EL84 power tubes, and a GZ34 rectifier. The head ships with power cable, owner’s manual, VFS1 footswitch, and speaker cable.

Developed to be the ideal partner for the amplifier, the V212HWRX Hand-Wired Cabinet has been precision-designed to reproduce authentic VOX tone with authority, depth, and musical resonance. Far from being merely a housing for speakers, the cabinet construction itself was engineered through detailed study of original 1960s AC30 designs. Built from 12mm birch ply to match vintage specifications, it delivers an open, three-dimensional response that enhances clarity while keeping warmth and body. Inside, a pair of 12-inch Celestion Alnico Blue speakers provides the unmistakable sonic signature long associated with VOX amplifiers, featuring brilliant top end, smooth overdrive character, and rich harmonic response that complements the AC30 Hand-Wired Head perfectly.

Visually, both products pay tribute to VOX heritage. The amplifier features period-inspired styling elements such as copper control panel, brass vent accents, and traditional VOX branding, while the V212HWRX cabinet showcases diamond-pattern grill cloth and classic VOX identity. The cabinet measures 27.36 by 10.31 by 22.32 inches, weighs 40.79 pounds, and is rated for 30 watts RMS into 16 ohms. Together, the AC30 Hand-Wired Head and V212HWRX cabinet deliver not only tone and performance but an authentic connection to VOX’s iconic legacy.

With these releases, VOX offers players, collectors, vintage enthusiasts, and working professionals a faithful yet forward-thinking path to true AC-series tone in a flexible head-and-cabinet format.

For additional details, specifications, and availability information, please visit NAMM Booth #6802 or online at www.voxamps.com.

Street Price:

AC30 Hand-Wired Head $1999.99 USD

AC V212 Hand-Wired Cabinet $1499.99 USD

C. F. Martin & Co.® today announced four new instruments debuting ahead of The 2026 NAMM Show: the Super D-18, Super HD-28, Martin O’ahu K-42 Hibiscus, and Custom Shop M Paisley Ember Burst. Following the recent launch of the refreshed Road Series, these additions mark another significant step forward for Martin in 2026, with one more major announcement planned during NAMM.

Super D-18 & Super HD-28

The Super D-18 and Super HD-28 build on the success of the Custom Shop Super D, Martin’s largest and most powerful body shape. With approximately 20% more internal air volume than a standard Dreadnought, the Super D delivers deeper bass, greater projection, and an extended dynamic range—while keeping the iconic silhouette intact. Acoustic testing showed gains of up to 12dB, offering more volume with less effort.

For 2026, Martin brings this groundbreaking body shape into the Standard Series for the first time, offering players Super D performance paired with classic 18- and 28-style appointments, with the Super D-18 (above) featuring solid spruce and genuine mahogany and the Super HD-28 (below) pairing solid spruce with East Indian rosewood—both powered by forward-shifted Golden Era scalloped X-bracing for exceptional responsiveness and tone.

Martin O’ahu K-42 Hibiscus

The K-42 Hibiscus expands the Martin O’ahu line with a design that reimagines the historic Kealakai-inspired body. A 12-fret body paired with a 14-fret neck—an unprecedented combination for Martin—shifts the bridge for added focus and projection. Broad-flamed koa back and sides, a reclaimed spruce top with a dark toasted burst, Style 42 appointments, Madagascar rosewood binding, and hibiscus fingerboard inlays make it visually striking and sonically rich. Limited to 100 instruments, it offers a blend of heritage, rarity, and modern craftsmanship.

Custom Shop M Paisley Ember Burst 

Designed by Martin President and CEO Thomas Ripsam, the Custom Shop M Paisley Ember Burst features a custom Engelmann spruce top with a “Martin paisley” pattern incorporating historic snowflake and diamond motifs. Quilted maple back and sides and an Ember Burst finish create a unified, premium aesthetic. Forward-shifted Golden Era scalloped bracing produces clear, articulate tone, while flamed maple binding, abalone inlays, Waverly gold tuners, L.R. Baggs® Anthem™ electronics, and a hand-signed label elevate this one-year limited model for players and collectors.

A Strong Start to 2026 

Following the recent launch of the refreshed Road Series, the debut of these four new instruments continues Martin’s strong start to 2026 and sets the stage for a standout showing at this year’s NAMM Show.

For more information, visit martinguitar.com.

Taylor Guitars has announced its most ambitious tonal expansion to date with two key launches: a Next Generation evolution of its flagship Grand Auditorium guitars and the growth of its heritage-inspired Gold Label Collection to include a trio of deeper-bodied square-shoulder dreadnoughts. This dual launch underscores Taylor's commitment to offer players the industry's widest spectrum of acoustic tonal possibilities, from cutting-edge modern acoustic performance to time-honored traditional tonal character.

“As guitar makers, we see the ever-wider variety of players and styles,” said Andy Powers, Taylor’s Chief Guitar Designer and CEO. “This means different types of sounds, feels and aesthetic presentations—all in step with the creative world of today’s players.”

​EVOLVING A MODERN FLAGSHIP: Next Generation GRAND AUDITORIUMS

For more than 30 years, the cutaway Grand Auditorium body style has defined the Taylor brand—comfortable, musically versatile, and equally at home in living rooms, pro studios, and on big stages. Yet in keeping with Taylor’s ethos of continuous improvement, Andy Powers has continued to bring voicing enhancements to Taylor's most popular body style. The latest refinements arrive as a potent trio of performance-enhancing, “Next-Generation” innovations that fundamentally transform the feel, sound, and live performance utility, all while retaining the core identity that players love. Debuting in Taylor’s best-selling 300, 400 and 800 Series, including both Standard and Builder's Edition models, the Next Generation Grand Auditoriums combine Taylor’s patented Action Control Neck, a new scalloped variant of Andy’s V-Class bracing, and all-new Claria System electronics—with all three design breakthroughs working in harmony to inspire players by offering a richer, more expressive musical experience.

ACTION CONTROL NECKTM — The patented Action Control Neck features a long-tenon joint extending deeper into the guitar body for dramatically enhanced sustain, warmth, and resonance, while allowing instant, precise string height adjustments directly through the soundhole—with no string or neck removal required.

SCALLOPED V-CLASSTM BRACING — Working in harmony with the neck, a new scalloped V-Class bracing pattern lightens key brace zones for increased top movement and responsiveness, delivering the warmth and richness players crave with enhanced low-end response while preserving V-Class's renowned pitch accuracy, projection and sustain.

CLARIATM PICKUP SYSTEM — Finally, Taylor’s all-new Claria System electronics revolutionize amplified performance with an improved under-saddle piezo pickup paired with a proprietary onboard preamp that eliminates traditional piezo harshness. Discrete soundhole-mounted Volume, Mid-Contour, and Tone controls enable a wide range of tone-shaping—players will find it easy to quickly dial in their preferred sound in any type of performance venue, offering remarkable plug-and-play utility.

Next Generation Grand Auditoriums start at $2,499 and include:

• 314ce
• 414ce
• 814ce
• Builder’s Edition 324ce
• BE 814ce Indian Rosewood/Adirondack Spruce
• 324ce
• 454ce*
• 854ce*
• BE 814ce Honduran Rosewood Rosewood/Sinker Spruce
• BE 814ce Indian Rosewood/ Adirondack Spruce Blacktop
  

*These 12-string models feature standard V-Class bracing.

GOLD LABEL GROWTH: SQUARE-SHOULDER DREADS + NEW 900 SERIES MODELS

One year after its debut, Taylor’s Gold Label Collection, which draws inspiration from past eras of traditional, non-cutaway guitars, welcomes another body style to the family: a square-shoulder dreadnought with a deeper body that creates an acoustic powerhouse with pronounced warmth and projection. The new dreadnought models include three tonewood pairings: the mahogany/torrefied Sitka spruce Gold Label 510e, the Indian rosewood/torrefied Sitka spruce Gold Label 710e, and the Honduran rosewood/torrefied Sitka spruce Gold Label 810e. (One other dreadnought that sits alongside these models is the Trey Hensley Gold Label 510e, introduced in Q4 of 2025.)

The new Gold Label Collection guitars start at $2,799 and include:

• Gold Label 510e
• Gold Label 710e
• Gold Label 810e

Additionally, a pair of new Gold Label models debut at Taylor’s 900 Series level, featuring an ultra-premium blend of materials and aesthetic refinements. Models include two body styles: the Super Auditorium Gold Label 914e and Grand Pacific 917e. Both pair Honduran rosewood with Adirondack spruce and feature exquisite paua-shell trim along the top, fretboard and headstock, in natural or golden-brown sunburst finishes. All Gold Label models feature the collection's signature innovations: Fanned V-Class Bracing, the Action Control Neck, and heritage-inspired aesthetics.

“It’s like players are stepping into a different musical skin with our Gold Label guitars,” says Powers. “Songwriters, bluegrass players, Americana players, rhythm players, weekend strummers, worship leaders, all kinds of different players saying, ‘Wow, I love this sound. This is a whole different face of Taylor.’”

The Next Generation Grand Auditoriums and expanded Gold Label Collection models are available now at authorized Taylor dealers worldwide. For more information, visit TaylorGuitars.com. Follow Taylor Guitars on Instagram, Facebook, YouTube and TikTok.

Taylor Guitars has announced its most ambitious tonal expansion to date with two key launches: a Next Generation evolution of its flagship Grand Auditorium guitars and the growth of its heritage-inspired Gold Label Collection to include a trio of deeper-bodied square-shoulder dreadnoughts. This dual launch underscores Taylor's commitment to offer players the industry's widest spectrum of acoustic tonal possibilities, from cutting-edge modern acoustic performance to time-honored traditional tonal character.

“As guitar makers, we see the ever-wider variety of players and styles,” said Andy Powers, Taylor’s Chief Guitar Designer and CEO. “This means different types of sounds, feels and aesthetic presentations—all in step with the creative world of today’s players.”

​EVOLVING A MODERN FLAGSHIP: Next Generation GRAND AUDITORIUMS

For more than 30 years, the cutaway Grand Auditorium body style has defined the Taylor brand—comfortable, musically versatile, and equally at home in living rooms, pro studios, and on big stages. Yet in keeping with Taylor’s ethos of continuous improvement, Andy Powers has continued to bring voicing enhancements to Taylor's most popular body style. The latest refinements arrive as a potent trio of performance-enhancing, “Next-Generation” innovations that fundamentally transform the feel, sound, and live performance utility, all while retaining the core identity that players love. Debuting in Taylor’s best-selling 300, 400 and 800 Series, including both Standard and Builder's Edition models, the Next Generation Grand Auditoriums combine Taylor’s patented Action Control Neck, a new scalloped variant of Andy’s V-Class bracing, and all-new Claria System electronics—with all three design breakthroughs working in harmony to inspire players by offering a richer, more expressive musical experience.

ACTION CONTROL NECKTM — The patented Action Control Neck features a long-tenon joint extending deeper into the guitar body for dramatically enhanced sustain, warmth, and resonance, while allowing instant, precise string height adjustments directly through the soundhole—with no string or neck removal required.

SCALLOPED V-CLASSTM BRACING — Working in harmony with the neck, a new scalloped V-Class bracing pattern lightens key brace zones for increased top movement and responsiveness, delivering the warmth and richness players crave with enhanced low-end response while preserving V-Class's renowned pitch accuracy, projection and sustain.

CLARIATM PICKUP SYSTEM — Finally, Taylor’s all-new Claria System electronics revolutionize amplified performance with an improved under-saddle piezo pickup paired with a proprietary onboard preamp that eliminates traditional piezo harshness. Discrete soundhole-mounted Volume, Mid-Contour, and Tone controls enable a wide range of tone-shaping—players will find it easy to quickly dial in their preferred sound in any type of performance venue, offering remarkable plug-and-play utility.

Next Generation Grand Auditoriums start at $2,499 and include:

• 314ce
• 414ce
• 814ce
• Builder’s Edition 324ce
• BE 814ce Indian Rosewood/Adirondack Spruce
• 324ce
• 454ce*
• 854ce*
• BE 814ce Honduran Rosewood Rosewood/Sinker Spruce
• BE 814ce Indian Rosewood/ Adirondack Spruce Blacktop
  

*These 12-string models feature standard V-Class bracing.

GOLD LABEL GROWTH: SQUARE-SHOULDER DREADS + NEW 900 SERIES MODELS

One year after its debut, Taylor’s Gold Label Collection, which draws inspiration from past eras of traditional, non-cutaway guitars, welcomes another body style to the family: a square-shoulder dreadnought with a deeper body that creates an acoustic powerhouse with pronounced warmth and projection. The new dreadnought models include three tonewood pairings: the mahogany/torrefied Sitka spruce Gold Label 510e, the Indian rosewood/torrefied Sitka spruce Gold Label 710e, and the Honduran rosewood/torrefied Sitka spruce Gold Label 810e. (One other dreadnought that sits alongside these models is the Trey Hensley Gold Label 510e, introduced in Q4 of 2025.)

The new Gold Label Collection guitars start at $2,799 and include:

• Gold Label 510e
• Gold Label 710e
• Gold Label 810e

Additionally, a pair of new Gold Label models debut at Taylor’s 900 Series level, featuring an ultra-premium blend of materials and aesthetic refinements. Models include two body styles: the Super Auditorium Gold Label 914e and Grand Pacific 917e. Both pair Honduran rosewood with Adirondack spruce and feature exquisite paua-shell trim along the top, fretboard and headstock, in natural or golden-brown sunburst finishes. All Gold Label models feature the collection's signature innovations: Fanned V-Class Bracing, the Action Control Neck, and heritage-inspired aesthetics.

“It’s like players are stepping into a different musical skin with our Gold Label guitars,” says Powers. “Songwriters, bluegrass players, Americana players, rhythm players, weekend strummers, worship leaders, all kinds of different players saying, ‘Wow, I love this sound. This is a whole different face of Taylor.’”

The Next Generation Grand Auditoriums and expanded Gold Label Collection models are available now at authorized Taylor dealers worldwide. For more information, visit TaylorGuitars.com. Follow Taylor Guitars on Instagram, Facebook, YouTube and TikTok.

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.

The post Mateus Asato’s highly-anticipated debut album finally gets a release date appeared first on Guitar.com | All Things Guitar.

Thomann-owned budget gear brand Harley Benton has announced it’s closing its Reverb US online store, citing “changes in economic conditions” which have “made it increasingly difficult for us to continue operating in the US”.

The store is set to close on 31 January, 2026, with “no more products available” from 1 February. Harley Benton does say, however, that its team will remain active for warranty, repairs and customer support”.

• 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

“This wasn’t an easy decision, and we’re truly grateful for the enthusiasm and support you’ve shown to our brand,” Harley Benton writes in a new post on social media.

It adds that until the store’s closure on 31 January, “this is your last chance to grab Harley Benton gear directly from our warehouse – discounted and without tariffs”.

“Thank you to our US community for the trust, passion, and love – you’ll still be able to order Harley Benton instruments anytime via harleybenton.com, shipped from Germany through Thomann. We still focus on our mission to provide high-quality gear at fair prices.”

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Tariffs implemented by US president Donald Trump over the past year have led to an increasingly hostile economic climate for guitar brands.

Just last month, Höfner – the German maker of Paul McCartney’s legendary violin bass – blamed its recent bankruptcy filing on the effects of US tariffs.

And a report in September from financial information and analytics expert S&P Global revealed that Fender had increased prices over the first half of 2025 to offset higher costs from tariffs, “especially from China, which makes up 40% of purchases (half of which enter the US).”

Speaking in July, guitar accessories manufacturer D’Addario said it expected to incur more than $2 million in tariffs in 2025 as a result of US international trade policy.

We caught up with John Mlynczak, CEO of NAMM – which is due to kick off later this week – in July to get his views on how Trump’s tariffs are shaping (and damaging) the musical instruments industry.

“We met with high-level members of Congress just to follow up and say… American-made brands can’t make these products unless they get wood from overseas,” he said. “We don’t grow these species of wood in the United States!’”

You can check out Harley Benton’s Reverb US store until 31 January.

The post Harley Benton closes US Reverb store blaming “changes in economic conditions” appeared first on Guitar.com | All Things Guitar.

For Jacob Collier, music is its own solar system, and the possibilities are endless – because nothing you feel moved to create is right or wrong. You could write a song for a sitarist and an opera singer, or a harpsichord player and a shred guitarist. You could even write an album primarily for a unique five-string guitar, tuned to DAEAD.

As he became the internet’s favourite musical polymath – wowing the world first with his YouTube videos before embarking on a multi-Grammy-winning run of albums – there was a running joke that the 31-year-old had ‘completed music’.

Jacob Collier on the Guitar.com Cover. Image: Paige Margulies for Guitar.com

Indeed, the former Royal Academy of Music jazz piano student is capable of commanding an entire orchestra in real time – which is why his latest turn, to a new musical era that focuses on his voice and acoustic guitar, is so striking.

Pivoting to being a guitar guy is something that Collier has been thinking about since he started teaching himself to play in 2016, but it’s not a venture he felt prepared for until this moment. For starters, he’s had to develop a unique five-string guitar to realise his vision for the instrument. It doesn’t matter how an instrument should be played, Collier reckons. That’s why he’d choose five strings and an unconventional tuning over six any day.

“I learned a lot about guitar playing when I had to record takes in full… that was such a refreshing challenge”

“The guitar is such an important part of my musical vocab book,” he explains during some downtime on the final leg of his world-spanning Djesse Vol. 4 tour. The thing that clearly excites him most at the moment however, is his latest album, The Light For Days.

A huge sonic departure for Collier, the 36-minute album conveys the delicate beauty of his DAEAD-tuned five-string acoustic guitars and his rich, caramel vocals. The virtuosity and remarkable gift for harmony is present and correct, of course, but presented in a way that leaves him no hiding place as a musician.

“I learned a lot about guitar playing when I had to record takes in full,” he admits. “Because I didn’t lean on any studio-based techniques to get away with not playing real stuff. It’s all me playing, and that was such a refreshing challenge.”

Image: Paige Margulies for Guitar.com

At The Crossroads

Guitar has steadily crept into Collier’s musical output as he grew more comfortable with the instrument, but a tipping point came in 2024. Collier worked with Swedish ergonomic guitar innovator Strandberg to develop his own signature guitar – the first glimpse of his unique five-string vision for the instrument.

The guitar would feature prominently on Djesse Vol. 4’s boisterous track WELLLL, which was the final push launching him into this guitar-centric chapter.

“Spending time and attention with one instrument always tends to benefit,” he admits now. “When I played guitar nonstop for four days, it made me notice where my comfort areas are. I was trying some palm-muting things out for the first time and some different kinds of hammer-on effects, and even playing with some harmonics and thinking patterns. It was fun to be inventive.”

“I’d figured out stuff in my head that was only real once it was in my hand. I’d found this language”

Alongside the album, Collier also debuted a trio of new signature guitars with another forward-thinking guitar brand, Taylor. Again, the vision with these new guitars wasn’t to make something that had traditional mass-market appeal – even if two of the models have accessible price points.

All three guitars feature the same five-string layout, and are designed for that same unconventional tuning. There are other flourishes that set them apart from the norm. Collier’s interpretation of the popular GS Mini features a typically bold geometric soundhole rosette, while his Academy 22e model featured an eye-catching smoked eucalyptus bridge and fretboard that Collier quips is “really quite profound”.

But it’s unlikely to be the visuals of these instruments that cause guitarists to double-take – it’s that conspicuous absence of a sixth string. “If I hand a five-string guitar to people who are very familiar with playing six-string guitars, they’re delighted by the challenge,” Collier grins.

Image: Paige Margulies for Guitar.com

Take Five

“Challenge” might be an understatement since Collier’s playing style – which often sounds like a fluttering collection of notes in constant glissando – is equal parts Andy McKee and Tim Henson. But he’s keen to stress that the virtuosity he displays on tracks like Heaven is just one interpretation of the five-string concept.

“It’s like this strange hybrid of languages,” he continues. “It’s half-tuned like a mandolin or a bouzouki or a cello, in fifths, and it’s half-tuned in fourths, which is more like a bass guitar or a ukulele. It’s cool to see different people play it in their own ways.

“I remember handing one to Julian Lage, who’s one of the world’s greatest guitar players, and he had a really interesting approach. But then Chris Thile, one of Earth’s greatest mandolin players, had a completely different way of playing it.

“It’s an interesting kind of beast and it has refreshed me with a different perspective. It’s so easy to pick up and make it sound good – the shapes are straightforward and you can be really adventurous with that. It’s just a great place to start.”

“I’m a huge advocate for scrappiness in music”

The origin of this unique approach can be traced back to his initial forays into the guitar, which date back far before his recent infatuation, and it might surprise you to learn that it’s not as simple as wanting a guitar with one fewer string.

“I grew up playing tenor guitars,” he explains, referring to the once-popular four-string student models developed in the 1930s. “But I always had this wish to add another string. The five-string was initially an augmentation of a four, rather than a diminution of six.

“I mentioned the idea to my good friend Andy Powers, who’s Taylor Guitars’ master builder, and he built me this prototype. It was so mind blowing and exciting for me because I’d figured out stuff in my head that was only real once it was in my hand. I’d found this language, and it was really satisfying to see that language come to life on an instrument.”

Image: Paige Margulies for Guitar.com

Friends Indeed

Given that Collier has, at times, been described as the “Mozart of Gen Z” – and whose understanding of pitch and harmony is so unique and remarkable that legends like Herbie Hancock and Quincy Jones decided to mentor him when he was still a teenager – it’s perhaps not surprising that he’s developed his own unique approach to playing guitar.

But Collier stands firm in the opinion that anyone can reach these lofty heights.

“Anybody in the world who has ever played an instrument to a high level has started on day one, just like everybody else,” he says. “It’s a levelling thought, that everyone starts equal. I really believe to my core that there are intuitions about life that exist in music as a parallel situation.

“Music is much more inherent than people think,” he continues, “and a lot of people are intimidated or even put off when they start out as a musician. They might have one of those teachers who tells them they have to play the right notes or that they’re doing it wrong.

“I’m not interested in people imitating me. I would much rather people be themselves”

“But look at me with my five-string guitar – it’s about having a sense that anything is possible. My job is to imagine things worth existing, and then making them real as an artist. That’s my duty.”

Perhaps not so surprisingly, this inclusive mindset has gained Collier his own burgeoning fanbase who are unabashed about their deep connection to the musician. When we ask him about a video posted to Instagram in which a wonderstruck fan turned 100 at one of his shows, he smiles wide in recognition.

“Oh, you mean Nancy?” he asks. “Yeah, she’s become a really close family friend now and she knows my mum. But I think of my whole audience as my friends. Many of us have grown up together and the thing I’m proud to have created more than anything is community.

“This space of Jacobean people – it’s such a diverse group. I’m such a non-believer in monoculture where everyone comes to a gig dressed up in the same way and everyone wears the same hat and the same outfit. I’m not interested in people imitating me. I would much rather people be themselves.”

Image: Paige Margulies for Guitar.com

Risky Business

This constant theme of originality in Collier’s artistry has lately earned him his 16th Grammy nomination for Keep an Eye on Summer, a track on The Light for Days. It’s a nod to the impact this new acoustic, five-string guitar era has had on the industry.

He’s already the first Brit to win a Grammy for each of his first five albums. It shows that taking a risk and playing an instrument your own way pays off.

“What’s interesting about the Grammys is that they’re voted on by musicians,” he says. “You have to have made music or have a credit on a published piece of music to be eligible to vote in the Grammys. Every system is very biased, but I feel so proud and so lucky to have been recognised by those particular peers.”

Collier is also the only person to be nominated twice without his records ever charting. “That’s something I’m very proud of,” he says. “I think there’s such a change in the air, and it makes me so excited about all the artists who are coming up who don’t have commercial success.

Image: Paige Margulies for Guitar.com

“I totally respect people who are suspicious [of the Grammys],” Collier adds quickly with a smile. “There’s no measuring stick for music and you can’t objectively say what the best is. That’s not real. Obviously the whole thing is made up. But I think there are real people involved who take music seriously.”

Arguably, no one takes music more seriously than Jacob Collier. As he says time and time again, there’s no such thing as the right way to play something, and he’ll continue championing this mindset for the rest of his career.

“I’m a huge advocate for scrappiness in music,” he says, “and I’m an advocate for five-string guitars. I’m grateful to celebrate their existence in the wild.”

Words: Sophie McVinnie
Photography: Paige Margulies
Styling: Morgan Grimes
Glam: Yuval Ozery

The post “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 appeared first on Guitar.com | All Things Guitar.

Walrus Audio announces Canvas Volume, a next-generation volume pedal designed to deliver precise control, consistent performance, and expressive feel without the mechanical compromises of traditional designs.

Canvas Volume allows players to tailor the pedal’s feel and response to their playing style through deep under-heel customization. Adjustable tapers, minimum-on volume, maximum gain, and lag controls give users the flexibility to dial in everything from straightforward volume control to expressive swells and clean boost applications.

Key features include:

• Eight selectable tapers, including a custom Canvas Taper and seven taper models inspired by classic volume pedals.

• Fully analog signal path with digitally controlled precision for consistent, musical response. • Mono, stereo, and dual-mono routing options with a dedicated tuner output.

Unlike traditional volume pedals that rely on strings, pots, or gears, Canvas Volume eliminates common wear points while remaining housed in a rugged steel and aluminum enclosure. Built around a contactless position sensor and high-quality VCAs, Canvas Volume provides a premium all-analog signal path with digitally controlled accuracy for smooth, musical volume response night after night. A built-in Utility Menu provides calibration, mode selection, and firmware update access to ensure long-term reliability and performance.

Engineered in the heart of Oklahoma City, Canvas Volume is built for players who demand durability, precision, and expressive control in a modern volume pedal.

Walrus Audio is offering the Canvas Volume for $299.99. Experience the Canvas Volume exclusively at walrusaudio.com and authorized dealers worldwide.

Mamie Minch walks through the different stages of fret wear and explains why seemingly small details matter so much when it comes to sound and playability.

As we celebrate our 20th anniversary of the Journal, we’re pulling out all the stops. In each 128 page issue, we’ll be celebrating some of our favorite musicians and builders of the past, present and future.

Here are some highlights found in this issue’s 128 pages.

Trevor Barnes goes deep with Chris Thile about his latest Bach on mandolin undertaking.

Bluegrass fanatics know Martin #58957 for its affiliation with Tony Rice and Clarence White. In this issue, guitarist Willy Watson talks about Clarence’s other cherished Martin, a D-18 with an equally fascinating backstory.

FJ publisher Jason Verlinde interviews Canadian indie artist Mac DeMarco about his new Guitar album, his minimalist gear philosophy and more.

Sofia Wolfson talks to Meg Duffy of Hand Habits, who has graced stages with Perfume Genius and Kevin Morby for years, but has now found their own voice as a singer-songwriter.

Frequent FJ contributor Jamie Etherington visits Australian luthier Steve Brown (Wallace Brown Guitars). This farmer-turned-guitarmaker sources his instruments’ raw materials locally and has a unique slant on the acoustic guitar.

Michael Watts sits down with Martin Simpson for a mini string-changing session to get a peek at Simpson’s vast instrument collection.

Live from the 2025 Fretboard Summit, acclaimed luthiers TJ Thompson, Mark Stutman and Steve Nall (Collings) talk about the tiny minutiae that separates a great guitar from a merely really good one.

…and so much more.

Want this issue? Subscribe today and we’ll send it to you.

The post What’s Inside: Fretboard Journal 58 first appeared on Fretboard Journal.



Episode 159 of the Truth About Vintage Amps: Beans, two-prong ASMR, peeling diodes (and faceplates) and more!

Thank our sponsors: Grez Guitars; Emerald City Guitars and Amplified Parts. And honarary mention to Rancho Gordo beans.

Some of the topics discussed this week:

1:32 Rancho Gordo beans in the WSJ, corn sticks

8:13 What’s on Skip’s bench: All the early Fender Princetons; a baffler!

11:20 Our sponsors: and (unofficially) Rancho Gordo beans

15:15: What should I do with this extra Bell Sound 2122-C hi-fi amp?; hear the TAVA All-Stars: Bob Armstong, Keith Cary, Charles Batey, Leff Jeffries (YouTube link, audio only)

25:20 How can I remove and save my tube chart when I replace the baffle?

30:09 Comparing a 5F2A kit schematic to the original; cargamanto beans (see below)

40:34 What does Skip always replace? Sello Rojo coffee; Lustre Craft pots

47:48 A Tweed Vibrolux with rusty faceplate; WEST amps transformers?

55:48 A broken, yet soothing two-prong plug question; Stephen King’s ‘It’

1:01:57 Are the diodes in my Premier B-220 Custom Bass amp okay? Can Switchcraft jacks go bad?

1:10:50 Real death caps; Fantastic Fungi

1:13:05 Kraft dinner; replacement transformers for 50-watt Rickenbackers; WD-40 for joint pain

Want amp tech Skip Simmons’ advice on your DIY guitar amp projects? Want to share your top secret family recipe? Need relationship advice? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too.

Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.

Don’t forget, we have a Patreon page. Support the show, get behind-the-scenes updates and get to the front of the line with your questions.

Above: Listener Richard’s Rickenbacker amp, which needs a new transformer.

The post The Truth About Vintage Amps, Ep. 159 first appeared on Fretboard Journal.

Cort Guitars announces the release of the new GB Short Scale bass guitars, a compact, short-scale instrument designed to deliver full, versatile bass tone in a more comfortable and portable format. Available worldwide through authorized local retailers and online, the GB Short Scale basses combine a 30-inch scale length with modern electronics and player-focused ergonomics, offering an accessible choice for bassists seeking comfort without sacrificing tonal flexibility.

The GB Short Scale features a poplar body providing a balanced tonal response with warm mids and smooth highs. Its body is approximately 20% more compact than a standard bass, contributing to improved comfort and ease of play. The bolt-on neck is crafted from roasted maple, a process that enhances stability while imparting a distinctive golden-brown appearance. The neck has a C-shaped profile with a 30-inch scale length and is paired with a roasted maple fretboard featuring a 15.75-inch radius, 22 medium-jumbo frets, and black dot inlays with matching black side dots. A PPS nut with a 1 1/2-inch (38 mm) width and 4-inline headstock complete the neck specifications.

Electronics are centered around a single Cort® Powersound humbucker pickup, designed to deliver both full humbucker and single-coil-style tones. The bass is equipped with a Markbass® MB-1 preamp, providing a natural and transparent boost that preserves the instrument’s inherent tonal character. Controls include a master volume, a 3-band EQ for detailed tone shaping, and a 3-way pickup function selector that allows players to switch between series, split, and parallel modes.

Hardware appointments include a vintage-style bridge and open-gear tuning machines, finished in chrome. The bass ships strung with .045–.105 gauge strings and features a spoke nut hotrod truss rod for easy neck adjustment. Added design elements include an ergonomic neck joint that improves access to the upper register while reducing playing strain. The GB Short Scale bass is offered in Gloss body finishes with a Matte neck finish, available in Yellow Crush, Forest Green, and Fandango Purple.

For more information on the new GB Short Scale bass guitars and the full Cort Guitars lineup, please visit NAMM Booth #6810 or online at www.cortguitars.com

Love Is Not Enough— the forthcoming new album from Converge— might be the apotheosis of the band's decades-long journey through the punk, hardcore and metal microcosm. What vocalist/lyricist Jacob Bannon, guitarist/producer Kurt Ballou, bassist/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge.

There isn’t an ounce of fat on the album. Every song moves with a power and purpose that eclipses their human origins, that speaks to the anger, pain, and frustration of the modern age. From the opening fusillade of the title track to the closing hurricane of “We Were Never the Same,” which premieres today, Love Is Not Enough is a sonorous balance of vitality and viciousness that reflects the chaos and uncertainty of the times we live in. Jacob Bannon comments on the track: "I wrote these words in the parking lot of a funeral home while reflecting on loss. Why do we gather to mourn but not to cherish? It's an honest question that exposes our collective distractions and shortcomings. Grief brings clarity— We all must do better."

For more than three decades, Converge have delivered musical and emotional catharsis, putting purpose before perception and intent before interpretation. Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration, Converge have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination.

Love Is Not Enough was recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Jacob Bannon did the artwork and design, creating an image for each song and a commanding cover depicting a celestial witness to a world aflame. “We still identify this band as the outlet that’s essential to our lives,” Bannon says. “We give everything we have to it. Being past your average middle age, we’re starting to see deeper than before into a variety of places. And I don’t think that’s specific to us. I think that’s something that’s utterly relatable.”

Pre-order Love Is Not Enough here and look for more news soon.

Love Is Not Enough track list:

1. Love Is Not Enough
2. Bad Faith
3. Distract and Divide
4. To Feel Something
5. Beyond Repair
6. Amon Amok
7. Force Meets Presence
8. Gilded Cage
9. Make Me Forget You
10. We Were Never The Same

When Jason Narducy met Michael Shannon in 2014, it was to celebrate the Lou Reed record The Blue Mask for a one-off performance in Chicago. Narducy, who plays guitar and bass with Superchunk, Bob Mould, and Sunny Day Real Estate among others, was familiar with Shannon’s work in films like Take Shelter and The Iceman—2014 was right around when Shannon became a bona fide Hollywood star. But he didn’t know that Shannon was also a lifelong musician. He sang in choirs and played in orchestras in school, and his indie-rock band, Corporal, put out their debut record in 2010, with Shannon as lead vocalist and guitarist. He portrayed George Jones in the 2022 miniseries George and Tammy, and handled all the musical performances himself.

When Narducy and Shannon realized they loved many of the same artists, they decided to produce more one-time-only shows honoring them: They played Neil Young’s Zuma, Bob Dylan’s Highway 61 Revisited, and joined tributes to T. Rex and the Cars. In 2023, they turned to R.E.M.’s debut Murmur, which was marking its 40th anniversary that year.

Narducy had worked with R.E.M. bassist Mike Mills before, so he invited him to the show at Chicago’s Metro, but it was anyone’s guess if he’d show. Backstage in the green room before the gig, the band was running through tunes with Scott Lucas of Chicago band Local H (named after two R.E.M. songs, “Oddfellows Local 151” and “Swan Swan H”) when someone knocked on the door. It was Mills, who introduced himself to every band member and shook their hands. Of course, Narducy suggested he join them onstage, but Mills politely demurred, insisting he didn’t want to steal the show.

Narducy remembers feeling confused when the crowd exploded during a random moment during the set. Neither he nor Shannon noticed, but Mills had crept onstage to sing backing vocals. He continued to make cameos throughout the set. At one point, he leaned in to then-bassist Nick Macri and yelled, “You’re fucking killing it!”

Since that show, Shannon and Narducy have undertaken R.E.M.’s Reckoning and Fables of the Reconstruction. When they began collaborating, the pair initially had a “strict code of ethos,” says Shannon. “We would pick a record, play it once, and that was it,” he explains. “Then people said, ‘You can’t just do that once. Do it again. You have to do it where we live.’” Narducy, a seasoned veteran of the road, wondered if Shannon would want to tour. Shannon remembers, “I said, ‘Well, I guess I’ve never been on a rock ’n’ roll tour before. I’ve heard so much about it. Let’s give it a shot.’”

They took Fables of the Reconstruction around the U.S. with a band assembled by Narducy: bassist John Stirratt, guitarist Dag Juhlin, drummer Jon Wurster, and keyboardist Vijay Tellis-Nayak. Narducy met with Julin before the tour to divvy up guitar parts, but otherwise, the band practiced just once together before hitting the road. “We do a lot of research on our own,” explains Narducy. “It does take a lot of homework to learn these songs.”

In February and March 2026, Michael Shannon & Jason Narducy And Friends—the outfit’s official name—are taking R.E.M.’s Lifes Rich Pageant on the road, celebrating the record’s 40th anniversary with 22 shows across the U.S. The run includes back-to-back shows in R.E.M.’s hometown of Athens, Georgia, where Mills, vocalist Michael Stipe, guitarist Peter Buck, and drummer Bill Berry reunited to perform “Pretty Persuasion” in February 2025 with Shannon & Narducy And Friends.

Plenty of artists of a certain caliber are precious about performing in cover projects, but neither Shannon nor Narducy feel an ounce of conflict about it. “A lot of these songs are canonical as far as I’m concerned,” says Shannon. “It’s not like you wouldn’t play Mozart because you didn’t write it.”

“Brilliant songs need to be played,” Narducy adds. “I hope that the audiences sense that we are celebrating just as much as they are. I think we consider ourselves a conduit of reinterpreting these songs. And when I say reinterpreting, not like a vast rearrangement. No one can play like those guys did. Plenty have tried.”

Narducy discovered R.E.M. in high school; decades later, as a professional musician, relearning the band’s catalog has felt like “taking a college course, one that I really enjoy and hopefully makes me a better musician and storyteller.” Narducy sneezes: “Sorry, talking about college makes me sneeze. It’s very rewarding, is what I mean to say.”

As it turns out, Peter Buck’s jangly, genre-defining playing left an unseen mark on Narducy’s own guitar work. “I’m realizing that Peter had a bigger influence on me than I even realized,” says Narducy. He often writes with chords like F# major with the B and E strings open—a “Peter Buck go-to chord.” Ditto A9, which appears in many early R.E.M. tunes. Buck, explains Narducy, would deconstruct Mike Mills’ cowboy-chord skeletons for songs, paring them back to “more of an arpeggiated, single-note approach. That’s obviously one of his signature sounds, and kind of created that jangle-rock thing.”

“Mills’ bass parts are so inventive,” Narducy adds. “You listen to a song like ‘Driver 8,’ that’s not the obvious bassline, especially if you just hear it isolated. It almost sounds like a different song, but married with Peter’s guitar part, it’s just magical, uplifting.”

To tackle Buck’s guitar parts, Narducy uses a Fender American Ultra Telecaster into a Fender Hot Rod III Deluxe—Juhlin plays a Rickenbacker like Buck did, and Narducy worried that two of them onstage wouldn’t jibe as well. A Strymon Mobius injects chorus when needed.

“A lot of these songs are canonical as far as I’m concerned. It’s not like you wouldn’t play Mozart because you didn’t write it.” —Michael Shannon

Stipe’s lyricism, too, is a point of creative fascination for both Shannon and Narducy. “Well, it’s certainly not head-on, you know?” says Shannon. “If he writes a song about love, he’s not writing a chorus like, ‘Baby, let me love you.’ It’s a lot more rooted in mystery. A lot of rock ’n’ roll seems to exist in order to give you an escape from real life and make you feel like you’re in some alternate universe where everything’s super exciting, but he’s like, ‘No, we don’t have to run away from real life when we’re singing our songs. Real life is pretty interesting if you look at it closely.’”

Shannon refers to “Kohoutek,” a track off of R.E.M.’s third record, Fables of the Reconstruction. (In early 2025, Narducy, Shannon, and the band performed that album’s “Driver 8” on Tonight Show Starring Jimmy Fallon.) Shannon explains it as a song about love between young people. “It doesn’t have the typical verbiage that you would associate with a love song,” he says. “It’s talking about sitting in the garden, standing on the porch, building a bridge. And yet, to me, it’s much more eloquent and moving, even though the language outside of the song is less ornamental, more matter-of-fact.

“No one can play like those guys did. Plenty have tried.” —Jason Narducy

“Michael Stipe is unique as a frontman because a lot of times, frontmen present themselves as on top of things, or like, ‘I’m a sexy alpha badass,’ and Michael Stipe is like, ‘Jesus Christ, life is overwhelming and confusing.’ He’s incredibly sexy and a badass and all those things, but he’s so vulnerable and ready to admit that he’s struggling just as much as anybody else. There’s a lineage of front people that have taken that and ran with it, but I think he was one of the first to introduce that point of view as a frontperson in a band.”

Even though Shannon and Narducy initially swore to only do one performance per album, the magic of these R.E.M. gigs hasn’t worn off as they’ve grown into a new tradition. “Even on the very last show of the last tour, there were moments throughout the show where I’m uncontrollably smiling at each member at some point throughout the show,” says Narducy. “It’s just like, ‘Here we are.’”

Jason Narducy’s Gear

Guitars

Two Fender American Ultra Telecasters

Amps

Fender Hot Rod III Deluxe

Effects

Keeley Compressor Pro

MXR Modified OD

Daredevil LED Clipper

Boss TU-3 Tuner

Strymon Mobius

Strymon TimeLine

Boss RV-3 Reverb

Touring pedalboard built by Johnny Wator, owner/operator of Daredevil Pedals

Picks

Tortex orange .60 mm picks

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

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

• Body Woods: Alder, Black Limba, Mahogany, Swamp Ash, Walnut, 1-Piece Swamp Ash, Roasted 1-Piece Swamp Ash
• 24 fret neck, 25.5” scale length, available with these fretboard materials: Ziricote, Ebony, Royal Ebony, Richlite Black Diamond, Richlite Maple Valley, Zebrawood, Rosewood, Birdseye Maple, Flamed Maple, Maple, Roasted Birdseye Maple, Roasted Flamed Maple, Roasted Maple, Palemoon Ebony
• Electronics available in HH and HSS pickup configurations
• Aero headstock, slotted pickguard, double output jack configuration

See the Aero demo video: https://www.youtube.com/watch?v=Ui3ZVtAsGMY

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

Kiesel’s new Aero is available for street pricing starting at $1,849. For more information, visit kieselguitars.com.



Guitarist/composer/improviser Shane Parish is about to release a truly astounding project, Autechre Guitar. The Athens, Georgia-based guitarist has transcribed and recorded an entire album of acoustic guitar arrangements featuring the music of electronic music duo Autechre.

This is no small feat. Autechre’s atmospheric compositions were made with layered synths and drum machines. Shane has somehow distilled them to their essence and arranged them for solo guitar. Best of all, they sound great.

On the podcast, we hear all about this Mt. Everest of a project, the Taylor 214-GE he used for the task, Shane’s background as an arranger and so much more.

The full Autechre Guitar album comes out on February 27, 2026 via Bandcamp: https://shaneparish.bandcamp.com/album/autechre-guitar-2

Watch Shane play another classic electronica track, Aphex Twin’s “Avril 14,” below.

Our next Fretboard Summit takes place August 20-22, 2026, at the Old Town School of Folk Music in Chicago. https://fretboardsummit.org

Our 58th issue of the Fretboard Journal is now mailing. Subscribe here to get it.

We are brought to you by Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).

Stringjoy Strings: https://stringjoy.com

Above photo: Rachel Orcutt

The post Podcast 533: Shane Parish first appeared on Fretboard Journal.

The versatile, venerable guitar star sits down with PG contributor Nikos Arvanitis to discuss his thoughts on why streaming is for kids, the impacts of AI on music, how home studios dilute albums, reducing the PRS McCarty to its core, and what's on the horizon.

Sponsored by StewMac: https://stewmac.sjv.io/APO2ED

NAMM is nearly here, and Boss is already debuting a range of exciting new gear to make the occasion. Not only has the brand unveiled a pair of new additions, the GX-1 and GX-1B, to its staple GX multi-effects series, but Roland, Boss’s parent company has also announced the new Cube Street Mini, a new addition to its busker-friendly Cube Street line.

If you’re heading to this year’s NAMM, you can trial out the new gear at California’s Anaheim Convention Center – just visit Boss in Room 202, Level 2.

• READ MORE: Boss XS-100 Poly Shifter review – even better than the squeal thing?

Boss GX-1 and GX-1B Multi-Effects Processors

Credit: Boss

Boss’s new GX models are designed to suit any calibre of player, whether you’re looking for a great entry-level processor or a new addition to an advanced set up. The GX-1 is designed for guitarists and the GX-1B is designed for bassists.

Both the GX-1 and GX-1B offer a wide variety of amps and effects which can be customised to suit your sound. And its easy to work your way through the vast selection, thanks to the clear hexagon-shaped panel buttons. You can also adjust the effect order, to make flicking through effects more intuitive to your personal preferences, with eight simultaneous blocks to utilise. Alongside that, there’s also a volume pedal and noise suppressor, to add that extra level of control – and you can also easily turn effects on/off with a single tap.

The processors has plenty of room for crafting custom setups and presets. Both come with 99 preloaded presets, while there’s also room for 99 of your own custom presets.

In terms of footswitches, both the GX-1 and GX-1B offer freely assignable footswitches, with wired and wireless options both compatible. Boss’ brand new FSC-10 Footswitch Cap is also a potential addition to your unit, designed to enhance the functionality of your pedals.

The GX-1 and GX-1B also offer Bluetooth and USB connectivity, as well as offering some ultra-travel-friendly power options (you can stick to an AC adaptor, but it can also be powered by batteries or USB).

Both the GX-1 and GX-1B are available for $229.99.

For more info, head to Boss.

Roland CUBE Street Mini Multi-Instrument Amplifier

Credit: Roland

Roland’s battery-powered Cube Street Mini shrinks down the power of the brand’s flagship Cube Street amp and transforms it into something super portable. Thanks to its size and nifty handle, it’s a great option for travelling musicians, street musicians, or for use in your own personal studios.

While its not designed for large-scale events, the Cube Street Mini is powerful for its size. It boats dual channels, plenty of built-in effects, and even an onboard tuner. The amp also supports Bluetooth, meaning you can even stream music via your smartphone without using up one of its two channels.

The main channel support inputs from guitar, microphone, and plenty of other stereo instruments. The second channel’s combo jack, on the other hand, is more suited to microphones.

With seven hours of battery life, it will also comfortably see you through the length of a full set time. And its water-resistant, just in case your on-street busking sees a heavy downpour.

The Cube Street Mini is available now for $199.99.

For more info, head to Roland. 

The post 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 appeared first on Guitar.com | All Things Guitar.