Premier Guitar

I’ve always been drawn to the aesthetics of vintage guitar amplifiers. From the control panel details to the Tolex and grill cloth, the visual beauty of old electronics never fails to captivate. British amps in particular catch my eye. Historically, they have played an important role in the evolution of rock ’n’ roll music. Visually, they stand out with bold color schemes and funky textures. I’m thinking of amps from manufacturers like Vox, Selmer, and Orange.

There are a few key factors that sonically differentiate British vs. American guitar amplifiers. British amps often use EL34 or EL84 tubes in the output sections, whereas American amps typically use 6L6 or 6V6. In addition to the tube configuration, the supporting circuit design colors the guitar signal. British amps sound warm with emphasis on the mids, while American amps are clean and sparkly. Think of the Beatles’ saturated guitar tones vs. the twangy, sparkly surf guitar we hear on Dick Dale records.

One British amp that stands out comes from a company named Watkins. Charlie Watkins entered the audio manufacturing world in 1954, when he began producing guitar amplifiers, and later went on to design some iconic PA systems under the name WEM (Watkins Electric Music). One of the most fabulous amplifiers I’ve had on my bench for repair lately has been a Watkins Dominator.

The Watkins Dominator is notorious for its shape and color. The amp is V-shaped in the front, with a pair of 10" speakers angled outward. I believe the intention there was to have a broader spread of sound, and it certainly sets the amp apart. It sports bright turquoise Tolex with cream and gold accents. Many customers of mine have locked eyes on the Dominator as they scan the shop for goodies.

This amp is an early version of the Dominator, which was manufactured into the early 1960s. The best way to tell is the control panel design—earlier Dominators have a black panel with gold stripes. Using a pair of EL84 output tubes, the amp pumps out roughly 17 watts. It has 2 channels, with each channel featuring dedicated volume and tone controls. The second channel has depth and speed controls for the tremolo as well.

This particular amp had been refurbished with new electrolytic capacitors. The original Elac speakers had also been swapped out for Celestion G10s, which is considered an upgrade. Celestion speakers boast dynamic richness and enhance the nuances of the amp’s circuitry. The original Elac speakers are known for their clean headroom and hi-fi accuracy.

The amp needed a new power transformer, which I sourced from Mercury Magnetics. It is a universal power transformer, which means it can be wired up to be used for different input voltages in different countries. The original power transformer for this amp was set up for European 220–240V AC wall voltage. The replacement transformer can accommodate either the 100–120V AC for U.S. voltage or the original U.K. voltage.

The mounting of the power transformer in earlier Dominators is unusual. It’s installed upside-down on the underside of the angled chassis, with a wooden beam attached to the cabinet providing additional support.

Once the new power transformer was installed, I fired up the amp to give it a sound test. Immediately, I noticed how creamy and warm it sounds. The tremolo is surprisingly deep. I heard some intermittent crackling in the tremolo circuit and traced it to a faulty connection on one of the oscillator capacitors. Finally, there were some noticeable microphonics coming from the EL84 output tubes. I have a stockpile of matched NOS tubes, so I picked a lovely pair of Baldwin EL84s to use as a replacement.

The amp’s owner also wanted me to tweak the tone circuit to brighten things up. I don’t always take on modification requests, but in this case adjusting the tone circuit was minimally invasive. This change comes early on in the circuit, after the signal has gone through the first stage of amplification. I installed a 500 pF capacitor between the input and wiper of the volume control to enhance the top end of the guitar signal. This adds some sparkle to the top end and allows the guitar to cut through the mix a bit more.

The Watkins Dominator is not only a visual delight, but also offers some nice versatility for the guitar player. With luscious cleans at moderate volumes and growling distortion at high volumes, it does just about everything that folks look for in British amplifiers. It’s a great example of a well-made amp that can stand the test of time.

When Japanese engineer Susumu Tamura designed the Maxon OD808 overdrive, he could hardly have known that it and its export twin, the Ibanez TS808 Tube Screamer, would become perhaps the most influential and, probably, imitated pedals in stomp box history. In fact, upon its introduction in 1979, the Tube Screamer, whose smooth sound is characterized by a bass roll off, midrange bump, and slight high-end attenuation, was not an instant success. But as the pedal was adopted by players as disparate as Stevie Ray Vaughan and Kirk Hammett, it gradually became a ubiquitous presence on pedalboards of all persuasions.

Tumura, a guitarist himself, spent several of the intervening decades working on wireless designs. In recent years, however, he began modifying Tube Screamers for Japanese guitar stores. But now in his seventies, he found the pace—almost 1,000 pedals annually—exhausting. Why not, he thought, just make a pedal that incorporated all his refinements? Enter the TWA SC-01 Source Code, which is exactly that. Handmade in the U.S., the SC-01 features improvements on the TS design, including 18V operation via an internal regulator, a +6 dB boost, an op amp that claims to inject “complex harmonics and an amp-like feel,” and, most importantly, a “Bite” control that can mix in asymmetrical, tube-like clipping to the symmetrical clipping-based sound of the original.

Source in Session

Using a Stratocaster and Fender Princeton Reverb as my test platform—a made-for-Tube Screamer rig if there ever was one—I first determined whether the Source Code could speak traditional Tube Screamer by A/B-ing it with a recent Ibanez TS-9 reissue. It does, producing tones indistinguishable from the traditional circuit when the bite control is at zero. That said, if your take on Tube Screamers has always been, “if it could only just…,” you’ll find that the bite knob opens up a whole new world. Goosing it adds the extra measure of sizzle, zing, and teeth that more common iterations of the design always lacked. And adjusting the balance of the drive and bite controls dials in an enhanced and expanded range of overdrive tones that truly transcend the original TS.

The Verdict

Whether you deploy Susumu Tamura’s latest refinement of the TS circuit to hit the input of an amp that’s already breaking up or as your primary source of overdrive, you won’t be disappointed. It offers all the essence of the original, but it’s the extra oomph and range that impresses.

The velvet-voiced, smooth-slide-playing solo artist details his journey from sideman to frontman, shares the his approach to designing a fresh Strat model, explains how a forced reset reshaped his career path, of course, he and host John Bohlinger share a few jams.

NAMM (The National Association of Music Merchants), the largest global not-for-profit music trade organization, celebrated 125 years of NAMM at The 2026 NAMM Show — a powerful week that concluded on Jan. 24 and set the music industry’s narative for years ahead. Featuring five days of incredible education, live concerts and special events, alongside three days of extraordinary exhibits and brand activations, this year’s show featured 1,650-plus exhibitors representing over 5,400 brands and more than 200-plus educational sessions for NAMM member communities.

The 2026 NAMM Show highlighted innovative music technologies, product introductions and trends that will shape the future of the music industry during a five-day-long platform for networking, connections and meetings that are critical for uniting and growing music makers globally.

“The 2026 NAMM Show once again delivered an incredible week of unity and energy for our global NAMM members, showcasing products, partnerships and networking for the entire music industry,” said John Mlynczak, NAMM president and CEO. “NAMM continues to be the global stage for our industry to announce groundbreaking products, establish transformative partnerships and gain valuable education that drives success for our industry for the rest of the year.”

NAMM SHOW 2026 BY THE NUMBERS

• 60,000+ show attendees, including 8,760+ international attendees from 122 countries, regions and territories
• 1,650+ exhibitors representing 5,400+ brands, which is 25% more than 2025
• Nearly 15,000 artists demonstrating and endorsing products and brands
• 200+ education sessions with 550+ speakers
• 1,600+ media, influencers and content creators reaching over 200+ million followers, which is 50% more than 2025.

NAMM SHOW 2026 SET LIST HIGHLIGHTS

Product Launches

The NAMM Electronic Press Kit, an online book of product and show announcements, tripled in size from 2025, with nearly 400 brands and companies using the platform to launch new products at The NAMM Show.

NAMM Global Media Day

Now in its third year, NAMM’s Global Media Day featured iconic brands spanning music, sound and entertainment technology categories to announce more than 500 ground-breaking products and business news to an exclusive media/creator/podcast-only audience of 750-plus guests.

NAMM Events and Awards Shows

Providing the platform for some of the industry’s best awards shows and live events, The 2026 NAMM Show saw sold-out crowds all week long, starting with the TEC Awards, followed by The Bass Awards Show, She Rocks Awards and The Parnelli Awards. Each show catered to a thriving professional community that gathered to honor the best of the best in each category.

Looking Back on NAMM, 125 Years Later

NAMM has been consistently guided by the best minds in the music business, who share a common desire to grow the industry and music making. Ever since 1901, NAMM leaders have come together, even as competitors, to ensure their association is helping the entire industry expand. The 125-year timeline is fully digitized and available to everyone on NAMM.org

NAMM’s Music for Life Honor Awarded to Industry Icon Rick Beato

NAMM presented globally acclaimed producer, educator, musician and YouTube creator Rick Beato with its highest honor, the Music for Life Award, in recognition of his lifelong contributions to music and commitment to inspiring music makers. In an exclusive Thursday morning Q&A with NAMM President and CEO John Mlynczak, Beato discussed his early musical influences, the music products that have helped define his career and the future of the music business in the age of AI.

NAMM’s Grand Rally for Music Education

NAMM rallied the industry around its mission Saturday morning, highlighted by magical moments with Grammy Award-winning artists Victor Wooten and Chad Smith. The session, hosted by John Mlynczak and Julia Rubio, brought the audience to its feet with inspirational performances, conversations and messages, as well as live performances from Roots of Rhythm.

The NAMM Foundation

In honor of our 125th “NAMMiversary,” and the upcoming 250th anniversary of the United States, the NAMM Foundation — with a generous $125,000 matching donation from Chris Martin, past chair of NAMM — announced at the 2026 show a total of $250,000 in funds to give back.

The Return of NAMM NeXT Europe and New NAMM NeXT Latin America

Coming off the success of last year's inaugural event, NAMM NeXT Europe will return and NAMM NeXT Latin America will debut in 2026. These NAMM NeXT events are one- to two-day leadership conferences that will gather our industry to focus on how we can grow the industry and address common challenges.

The 2027 NAMM Show is already in the works for January 26-30, 2027, at the Anaheim Convention Center. Booths with early bird rates and discounts are available now at NAMM.

Cort Guitars announces the G290 Modern, a new electric guitar designed for players looking for a contemporary, high-performance instrument that delivers tonal flexibility, premium components, and modern playability in a single platform. Available now directly online and through select retailers worldwide, the G290 Modern reflects Cort’s approach to purposeful design, pairing upgraded materials with carefully selected electronics and hardware to meet the demands of today’s guitarists across genres and performance environments.

The G290 Modern features a bolt-on poplar body, paired with a roasted maple neck for enhanced stability and response. The neck is carved into Cort’s slim Ergo V profile and measures 25.5" (648mm) in scale length, with a neck thickness of 21mm at the first fret and 23mm at the 12th fret. A roasted maple fingerboard with a 12"–15.75" compound radius supports smooth playability across the neck, while 22 tall medium-jumbo stainless-steel frets provide durability and a consistent feel. Black dot inlays are complemented by luminous side dots for improved visibility on dark stages. A Graph Tech® Black TUSQ nut with a width of 1 21/32" (42mm) completes the neck design.

Electronics on the G290 Modern are built around an HSS pickup configuration designed for tonal versatility. A Seymour Duncan® TB4 humbucker in the bridge position delivers punch and clarity, while Cort® Voiced Tone VTS-63 single-coil pickups in the middle and neck positions provide balance, articulation, and sparkle. Controls consist of a single volume knob, a single tone control with push-pull coil-splitting functionality, and a five-way selector switch, allowing players to move quickly between a wide range of sounds.

Hardware appointments on the G290 Modern reflect its performance-focused intent. The guitar is equipped with a Cort® CFA-III S tremolo bridge, Cort® staggered locking tuners, and chrome hardware throughout. Strings are factory-installed D’Addario® EXL120s, and a two-way adjustable truss rod with spoke nut allows for precise setup adjustments. The instrument is offered in Pale Graphite (PGR), Dusty Rose (DRS), and Military Beige (MBG) finishes, with a matte neck finish for a smooth playing feel.

For more information on the G290 Modern electric guitar, visit www.cortguitars.com.

Street Price: $699.99 USD

Epiphone today announces a refreshed and expanded lineup within the Inspired by Gibson Collection, delivering elevated playability, upgraded hardware and electronics, and refined body contours across a suite of classic, Gibson-inspired instruments. Designed to bring authentic design DNA to players at every level, the 2026 collection blends timeless style with modern reliability, premium feel, and refined performance, making these guitars perfect for every player and every stage.

The refreshed Epiphone lineup spans some of the most iconic silhouettes in guitar history, including the Explorer™ 80s EMG, Firebird™, Flying V™ 70s, Les Paul™ Special Double Cut, Les Paul Special Double Cut Figured, Les Paul Junior™, SG™ Special P‑90, Les Paul Standard 50s, Les Paul Standard 60s, and SG Standard. Each model has been thoughtfully updated with rosewood or ebony fretboards, high‑quality hardware and electronics, and improved body contours and specifications—delivering the unmistakable feel of a classic with the performance demands of today’s stage and studio.

The Epiphone Inspired by Gibson lineup is now available worldwide at Gibson Garage locations, via authorized Epiphone dealers, and on Epiphone.com.

To complement these refreshed builds, Epiphone introduces a bold finish palette that honors heritage while inviting self-expression. Available colors include Classic White, Wine Red, Vintage Sunburst, Maui Blue, TV Yellow, Cherry Red, Bourbon Burst, Ocean Water, Goldtop, Washed Cherry Sunburst, Ebony, and Iced Tea Burst. Whether you’re stepping into the spotlight, tracking in the studio, or rehearsing for the next tour, there’s an Inspired by Gibson model—and a finish—that’s‑ unmistakably yours.

“Epiphone has always been about opening doors,” says Lewis McKinney III, Brand Manager of Epiphone. “Inspired by Gibson brings real heritage into the hands of players who want more than the look—they want a guitar they can count on, in any situation, every time they plug in. This all-new collection stays true to that mission: guitars that feel right, sound right, and show up, always.”

These refreshed Epiphone models bring classic tones and familiar feel together with contemporary reliability—ideal for gigging artists, studio professionals, and emerging players alike. The result is a lineup that honors decades of music history while meeting the demands of modern performance.

Epiphone is celebrating the launch in true punk fashion, teaming up with San Francisco Bay Area firebrands Spiritual Cramp, whose raw energy fuels the accompanying release video. Guitarist Nate Punty tears through “Go Back Home,” a standout from the band’s recent full-length album Rude, delivering a performance as gritty and immediate as the track itself.

The collaboration doesn’t stop there. As Spiritual Cramp head back out on the road in February, Epiphone will join them once again for an exclusive Epiphone Live Session, “Live at Alexandra Palace,” captured on location in London during their late‑2025 tour with The Hives.

And with the band’s headlining Rudest Band in the World Tour, sponsored by Alternative Press, kicking off in February, fans across the country will have plenty of chances to experience the chaos firsthand. The coast-to-coast run features rotating support from Bass Drum of Death, Mizery, Guv, and more.

Catch Spiritual Cramp live—and see their Epiphone guitars in full swing on tour—by grabbing tickets at: https://spiritualcramp.com/pages/tour-dates.

Explorer 80s – EMG

First launched in 1958, the Explorer™ was ahead of its time. Initially met with mixed reactions, its bold design and commanding tone eventually won over players. By the 1970s, its futuristic look became a favorite among rock icons, and in the high-energy 1980s, it truly hit its stride, earning a place in the hands of some of the era’s most influential guitarists. The new Explorer 80s – EMG pays homage to the sought-after 1984 model, a standout in Gibson’s history for its striking aesthetics and powerful sound. Artists like The Edge, Billy Gibbons, and James Hetfield helped cement the Explorer’s legendary status. For players who love retro-futuristic style, the Explorer 80s – EMG delivers the attitude and edge of that iconic decade.

This modern tribute features a mahogany neck with a fast-playing 60s SlimTaper™ profile, paired with a rosewood fretboard that hosts 22 medium jumbo frets and pearloid dot inlays. The headstock is fitted with mini die-cast tuners and a Graph Tech® nut for rock-solid tuning. At the other end, an Epiphone LockTone™ Tune-O-Matic™ bridge and LockTone Stop Bar tailpiece provide exceptional stability and sustain. The angular mahogany body is loaded with active EMG™ pickups—an EMG 60 in the neck and an EMG 81 in the bridge—delivering the fat, aggressive tones that defined the era. Powered by a 9V battery housed in a rear compartment for easy access, the electronics include dual volume controls, a master tone, and knurled metal knobs. With no pickguard, the Explorer 80s – EMG boasts a sleek, slightly menacing look. Complete with a premium gig bag, it’s ready to bring classic attitude to modern stages.

Firebird

Epiphone’s Inspired by Gibson Firebird™ brings back the bold reverse body and headstock design that made waves when the Firebird debuted in 1963. Conceived by renowned automotive designer Ray Dietrich, the Firebird was Gibson’s first neck-through-body guitar, a groundbreaking innovation at the time. Its 9-ply mahogany and walnut neck-through construction delivers exceptional sustain and warm, resonant tone. Because the tuners, pickups, bridge, and tailpiece are all mounted on the same continuous piece of wood, the Firebird offers unmatched resonance and stability. The SlimTaper C-profile neck is paired with a bound rosewood fretboard featuring 22 medium jumbo frets and pearloid trapezoid inlays, ensuring smooth playability and classic style.

This refreshed Firebird is equipped with ProBucker™ FB720 pickups, designed with Alnico 2 magnets and built to the original 1960s Firebird specifications. Wired to CTS® potentiometers, they recreate the bright, hum-free tone that made the Firebird famous. Unlike mini humbuckers, Firebird pickups use two blade magnets inside the coils and a steel reflector plate, omitting pole pieces entirely for a sound that’s truly unique among humbucking designs. Premium hardware includes an Epiphone LockTone™ Tune-O-Matic™ bridge, LockTone Stop Bar tailpiece, Grover® Mini Rotomatic tuners, and a Graph Tech® nut for rock-solid tuning. The pickguard proudly displays the iconic Firebird emblem in red. With its radical silhouette, distinctive voice, and included premium gig bag, the Firebird is ready to deliver pure rock ’n’ roll attitude on any stage.

Flying V 70s

A 70s rock icon that’s ready to help today’s players rock the world

Today, the Gibson Flying V™ is one of the most famous and instantly recognizable guitar designs of all time, but its rise to fame and popularity wasn’t instantaneous. Upon its initial release in 1958, it was met with a less-than-enthusiastic reception. However, as the years passed, guitarists soon began to discover its many charms, with famous players adopting them later in the 1960s. However, it was when hard rockers adopted its futuristic shape and powerful sound in the 1970s that the Flying V truly began to come into its own in the hands of players like Michael Schenker, Jimi Hendrix, K.K. Downing, Marc Bolan, Steve Jones, and many more. The new Epiphone Inspired by Gibson Flying V 70s is based on those iconic 70s models that changed music history forever.

The Flying V 70s features a two-piece, center-seamed mahogany body that is sure to turn heads. The mahogany neck has a comfortable, Rounded C profile and a volute at the neck/headstock junction, just like the vintage models from the 70s. The neck is topped with an ebony fretboard that features 22 medium jumbo frets and simple pearloid dot inlays. The slightly shorter 70s-era arrowhead-shaped headstock is equipped with Grover® Rotomatic® tuners with spade buttons and a Graph Tech® nut, ensuring solid tuning stability. The other ends of the strings pass over an Epiphone LockTone™ Tune-O-Matic™ bridge and are anchored with a LockTone Stop Bar tailpiece. The iconically shaped mahogany body is outfitted with Epiphone’s new T-Type PRO™ humbucking pickups. They accurately capture the unique, fat-toned sound and rich sustain of the Flying V models that many players preferred during that era. The pickups are wired to individual volume controls and a master tone control; the controls are capped with Witch Hat control knobs. Other era-correct details are present, including a 70s-style Flying V pickguard and a 70s-style truss rod cover with the Epiphone logo hot stamped on it, and highlighted with black nickel hardware. With eye-catching gloss finishes, style, and sound that can’t be ignored, the new Epiphone Flying V 70s is ready to help you rock the world. If you’re into retro-futuristic guitars, this is a model you need in your collection. A premium gig bag is included, so the Flying V 70s is ready to go wherever and whenever you are.

Les Paul Special Double Cut

An Inspired by Gibson classic that truly lives up to its name

When Gibson introduced the Les Paul™ Special in 1955, it was designed as a step up from the Les Paul Junior, adding a second pickup and refined touches like a mother-of-pearl headstock inlay and a bound fretboard. This positioned it between the elegant Les Paul Standard and the student-friendly Junior. In 1958, the model evolved with a double-cutaway body for improved upper fret access, and by 1960, the neck pickup was slightly repositioned and paired with a SlimTaper™ profile for faster, more comfortable playability.

Epiphone proudly brings back that spirit with the Les Paul Special Double Cut, an Inspired by Gibson recreation of those early 60s favorites. It features a solid mahogany body with a double-cutaway design for unrestricted fretboard access. The glued-in mahogany neck sports a 60s SlimTaper profile and a bound rosewood fretboard with 22 medium jumbo frets and pearloid dot inlays. The 1960s Kalamazoo-style headstock includes Epiphone’s three-on-a-plate tuners with ivory buttons, a Graph Tech® nut for tuning stability, and a mother-of-pearl Epiphone logo for vintage flair. At the other end, an Epiphone Lightning Bar compensated wraparound bridge anchors the strings directly to the body for exceptional sustain and resonance.

Powering this classic are two Epiphone P-90 PRO™ Soapbar pickups, delivering everything from shimmering cleans to raw, gritty overdrive. Each pickup has its own volume and tone control for maximum versatility. Complete with a premium gig bag, the Les Paul Special Double Cut is a timeless design made more accessible than ever.

Les Paul Special Double Cut Figured

The Les Paul Special, reimagined with premium style

Originally introduced in 1955, the Gibson Les Paul™ Special was conceived as an upgrade to the Les Paul Junior, adding a second P-90 pickup for greater tonal range, along with refined details like fretboard binding and a mother-of-pearl headstock logo. This positioned it between the elegant Les Paul Standard and the entry-level Junior. By 1958, the model evolved into a double-cutaway design for improved upper fret access, and in 1960, a SlimTaper™ neck profile and repositioned rhythm pickup enhanced playability and stability.

Epiphone now proudly unveils the Les Paul Special Double Cut Figured, an Inspired by Gibson model that elevates this classic design with stunning visual flair. It features a mahogany double-cutaway body topped with a AAA figured maple veneer and bound edges for a premium look. The glued-in mahogany neck sports a fast-playing SlimTaper profile and a bound rosewood fretboard with 22 medium jumbo frets and acrylic dot inlays. The 1960s Kalamazoo-style headstock is fitted with Grover® Rotomatic® tuners and adorned with a mother-of-pearl Epiphone logo for vintage authenticity.

Unlike traditional Les Paul Specials, this version swaps P-90s for a pair of Epiphone ProBucker™ humbuckers—a ProBucker 2 in the neck and a hotter ProBucker 3 in the bridge—delivering everything from warm rhythm tones to searing leads. Individual volume and tone controls, plus a three-way toggle switch, provide versatile sound-shaping options. Complete with a premium gig bag, the Les Paul Special Double Cut Figured combines timeless playability with next-level style.

Les Paul Junior

Classic simplicity meets P-90 punch

Introduced in 1954 during Gibson’s first Golden Era, the Les Paul™ Junior was created as a high-quality yet affordable solidbody electric guitar for students and beginners. Stripped of the ornate features found on standard Les Paul models—such as carved maple tops, binding, and multiple pickups—the Junior offered a straightforward design with a slab mahogany body and a single pickup, making it accessible without sacrificing tone. It didn’t take long for players of all skill levels, including top professionals, to embrace its raw power and versatility. Legends like Leslie West, Martin Barre, Charlie Starr, Glenn Frey, Johnny Thunders, John Lennon, Billie Joe Armstrong, and Steve Howe have all relied on the Junior’s distinctive voice. Its simplicity hides a surprising tonal range, with endless possibilities unlocked by adjusting picking position and the master volume and tone controls.

Epiphone proudly introduces the modern Les Paul Junior, a faithful Inspired by Gibson recreation that captures the essence of the original while meeting the needs of today’s players. It features a single-cutaway mahogany body, a mahogany neck with a comfortable 50s Vintage profile, and a rosewood fretboard with pearloid dot inlays. A single Epiphone P-90 PRO™ Dogear pickup delivers everything from shimmering cleans to gritty rock tones. Vintage-style Epiphone Deluxe tuners with ivory buttons, paired with a Graph Tech® nut, ensure tuning stability, while a compensated Lightning Bar wraparound bridge anchors the strings directly to the body for exceptional sustain and resonance. Complete with a premium gig bag, the Les Paul Junior is ready to go wherever inspiration strikes.

SG Special P90

Rock royalty with the bite of P-90s

The SG™ Special returns to the classic design that made it a favorite across decades and genres. First introduced in the early 1960s, the Gibson SG Special was created as a middle ground between the entry-level SG Junior and the SG Standard, blending the Junior’s simplicity with added versatility and refined styling. Despite its streamlined approach, it quickly became a cornerstone of rock history, powering countless iconic riffs and performances. This Epiphone recreation captures the look, feel, and tone of those early 60s models that defined an era.

Part of the Inspired by Gibson Collection, the Epiphone SG Special P-90 features a solid mahogany body with the signature double-cutaway shape, paired with a mahogany neck sporting a fast-playing 60s SlimTaper™ profile. The bound rosewood fretboard includes 22 medium jumbo frets and pearloid dot inlays for classic appeal. The 1960s Kalamazoo-style headstock is fitted with Epiphone Deluxe tuners with ivory buttons, a Graph Tech® nut, and a mother-of-pearl Epiphone logo. At the other end, a compensated wraparound bridge anchors the strings for vintage authenticity, solid intonation, and

impressive sustain.

Under the hood, a pair of Epiphone P-90 PRO™ Soapbar pickups delivers the raw, dynamic tone that players love—bright and articulate when clean, aggressive, and punchy when driven. Individual volume and tone controls for each pickup, plus a three-way toggle switch, provide exceptional tonal flexibility. Complete with a premium gig bag, the SG Special P-90 is ready to bring classic rock attitude to any stage.

Les Paul Standard 50s

Experience the legend

The Gibson Les Paul™ Standard models of the 1950s are among the most iconic guitars ever made. Celebrated for their stunning looks, effortless playability, and unmatched tone, these instruments have graced countless stages and recordings, earning a place as some of the most sought-after vintage guitars in history. Epiphone proudly presents the refreshed Les Paul Standard 50s, part of the Inspired by Gibson collection, designed to capture the essence and sound of those revered originals. Epiphone’s connection to Les Paul dates back to 1940, when Les crafted one of the first solidbody electric guitars at the original Epiphone factory in Manhattan. His pioneering design, known as “the Log,” laid the foundation for what would become the Les Paul Standard—widely regarded as one of the greatest electric guitars ever built.

The Les Paul Standard 50s features a mahogany body topped with a maple cap, delivering the warm midrange of mahogany complemented by the brightness of maple—hallmarks of the classic Les Paul tone. Its mahogany neck sports a 1959 Rounded Medium C-profile and a long neck tenon for superior strength and sustain. A rosewood fretboard with pearloid trapezoid inlays and 22 medium jumbo frets adds to its vintage appeal. The Kalamazoo-style headstock is fitted with Epiphone Vintage Deluxe tuners and a Graph Tech® nut for reliable tuning, while the strings run across an Epiphone LockTone™ Tune-O Matic™ bridge and LockTone Stop Bar tailpiece. Power comes from a pair of acclaimed Epiphone ProBucker™ humbuckers™, with a ProBucker 1 in the neck and a hotter ProBucker 2 in the bridge for a versatile tonal range. The electronics use CTS® pots with 50s-style wiring, and the controls are finished with gold Top Hat knobs and dial pointers. A premium gig bag completes the package. The Les Paul Standard 50s is an accessible homage to a legendary instrument, ready to inspire players everywhere.

Les Paul Standard 60s

Authentic 60s Les Paul style, tone, and feel for every player

The Gibson Les Paul™ Standards from 1958–1960 are among the most celebrated guitars ever made. Known for their stunning looks, smooth playability, and legendary tone, these instruments have appeared on countless stages and recordings, earning their place as some of the most desirable vintage guitars in history. Epiphone proudly introduces the Les Paul Standard 60s, part of the Inspired by Gibson™ Collection, designed to capture the sound and spirit of those iconic models.

Epiphone’s relationship with Les Paul began in 1940, when Les built one of the first solidbody electric guitars while working nights at the original Epiphone factory in Manhattan. His groundbreaking creation nicknamed “the Log,” paved the way for the Les Paul Standard—widely regarded as one of the greatest electric guitars ever produced. The Les Paul Standard 60s recreates the look, feel, and tone of early 1960s Les Pauls, featuring a mahogany body with a maple cap for classic warmth and clarity. Its mahogany neck is paired with a rosewood fretboard, pearloid trapezoid inlays, 22 medium jumbo frets, and a fast SlimTaper™ 60s C-profile for effortless playability. The Kalamazoo-style headstock comes equipped with Grover® Rotomatic® tuners and a Graph Tech® nut for exceptional tuning stability, while the strings pass over an Epiphone LockTone™ Tune-O-Matic™ bridge and Stop Bar tailpiece.

Tone comes from a perfectly matched set of Epiphone ProBucker™ humbuckers™, with a ProBucker 2 in the neck and a hotter ProBucker 3 in the bridge, each wired to individual volume and tone controls with high-quality CTS® pots. Finished with gold Top Hat knobs and packaged in a premium gig bag, the Les Paul Standard 60s delivers an authentic playing experience at an accessible price point.

SG Standard

The SG Standard – a legendary favorite

Part of the Inspired by Gibson™ Collection, the Epiphone SG Standard has been updated for today’s players while staying true to its iconic roots. The SG™ has earned its place as one of the most influential guitars in history, embraced by artists across genres. From Sister Rosetta Tharpe, Eric Clapton, and George Harrison to Robbie Krieger, Angus Young, Tony Iommi, and countless others, the SG has shaped the sound of generations.

The Epiphone SG Standard features a lightweight, double-cutaway mahogany body that offers effortless access to all 22 frets. Its set mahogany neck enhances sustain and is carved to a fast SlimTaper™ C profile. A bound rosewood fretboard with pearloid trapezoid inlays, 22 medium jumbo frets, and a 12-inch radius delivers smooth playability for chords and bends alike. Premium Grover® Rotomatic® tuners and a Graph Tech® nut work in tandem with an Epiphone LockTone™ Tune-O-Matic™ bridge and Stop Bar tailpiece for rock-solid tuning and precise intonation.

For tone, the SG Standard is equipped with a pair of Epiphone ProBucker™ humbuckers™ that deliver the classic SG sound players love. A ProBucker 2 sits in the neck position, while a hotter ProBucker 3 occupies the bridge, each wired to individual volume and tone controls with a three-way selector for maximum versatility. Complete with a premium gig bag, the Epiphone SG Standard is a modern take on a timeless classic—ready to inspire players everywhere.

Teisco (teisco.com) expands its pedal lineup with the introduction of a new collection of Mini pedals, delivering huge, expressive tone in a compact footprint. Designed to offer a comprehensive selection of essential sounds, the Mini pedals empower players of all levels to craft their own voice with confidence. True to Teisco’s fearless spirit, the brand’s bold personality and unmistakable aesthetics remain front and centre in this new collection.

Joining the celebration of this launch is a lineup of incredible artists and creators — Pedalboard Of The Day (@pedalboard_of_the_day), collector//emitter (@collectoremitter), Weish (@wweishh), and Old Dog (@oldoguitar) — who bring out the sonic brilliance and clever controls of these pedals.

The Teisco Mini collection features an extensive lineup of twelve all-new pedals, covering every essential need on the pedalboard, from fuzz and overdrive to delay, modulation, and tuning. Defying their compact footprint, these pedals deliver powerful, inspiring tones, proving that portability no longer comes at the expense of sound quality. Inspired by Japanese aesthetics, each model showcases a distinctive, eye-catching design that stands

out on any pedalboard. But it’s not just about looks: modern circuitry and true bypass switching ensure optimal signal integrity, offering the best of both worlds. Competitively priced, with US MAP starting at $59, the Teisco Mini pedals offer an accessible entry point for musicians seeking high-quality effects without compromise.

The pedals are now available worldwide via teisco.com and through select dealers.

Ever wondered how Billy Corgan achieves that massive "chainsaw" fuzz tone that defined an era of alternative rock? In this edition of "Blueprints", PG contributor Tom Butwin dives deep into the gear that makes it possible, featuring the Reverend Billy Corgan Z-One with its unique Bass Contour control, the Electro-Harmonix Op-Amp Big Muff Pi for that essential seventies-style grind, and the Gosh Amplification Problem Solver to provide a classic Marshall-style foundation.

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{ "@context": "https://schema.org", "@type": "Product", "name": "Op Amp Big Muff Pi", "image": ["https://www.premierguitar.com/media-library/image.webp?id=63519624&width=980"], "description": "Billy Corgan and James Iha (Smashing Pumpkins) built an empire on Siamese Dream's distinct brand of psychedelia-meets-rock-alternative. A key ingredient to this record's iconic sound, as guitarists today know, is Billy's famed late-'70s V4 IC Big Muff. Now, Corgan and EHX have carefully bottled the tone and response of the original in the Electro-Harmonix Op-Amp Big Muff Pi.", "brand": { "@type": "Brand", "name": "Electro-Harmonix" }, "offers": { "@type": "Offer" , "price": 96.20, "priceCurrency": "USD" , "url": "https://sweetwater.sjv.io/rajYbj" } } /* Container */ .pg-product-card { box-sizing: border-box; width: 100%; max-width: 760px; margin: 24px auto; border-radius: 14px; border: 1px solid #e3e3e3; padding: 16px; background: #ffffff; display: grid; grid-template-columns: 1fr; gap: 16px; font-family: system-ui, -apple-system, BlinkMacSystemFont, "Segoe UI", sans-serif; } /* Layout modifiers */ .pg-product-card.pg-layout-full { grid-template-columns: 1fr; } @media (min-width: 720px) { .pg-product-card.pg-layout-split { grid-template-columns: 220px minmax(0, 1fr); align-items: center; } } /* Image */ .pg-product-card__image-wrap { position: relative; border-radius: 12px; overflow: hidden; background: #f4f4f4; aspect-ratio: 1 / 1; } .pg-product-card__image-link { display: block; width: 100%; height: 100%; } .pg-product-card__image { width: 100%; height: 100%; object-fit: cover; display: block; } /* Body */ .pg-product-card__body { display: flex; flex-direction: column; gap: 8px; } /* Badge */ .pg-product-card__badge { display: inline-block; padding: 4px 10px; border-radius: 999px; background: #111111; color: #ffffff; font-size: 11px; font-weight: 600; letter-spacing: 0.06em; text-transform: uppercase; margin-bottom: 2px; } /* Company + title */ .pg-product-card__company { font-size: 12px; letter-spacing: 0.08em; text-transform: uppercase; color: #666666; font-weight: 600; } .pg-product-card__title { font-size: 20px; line-height: 1.25; margin: 2px 0 4px; font-weight: 700; } /* Description */ .pg-product-card__description { font-size: 14px; line-height: 1.6; color: #222222; } /* Meta / price */ .pg-product-card__meta { margin-top: 6px; margin-bottom: 10px; } .pg-product-card__price { font-size: 13px; display: flex; gap: 6px; align-items: baseline; } .pg-product-card__price-label { text-transform: uppercase; letter-spacing: 0.08em; color: #777777; font-weight: 600; font-size: 11px; } .pg-product-card__price-value { font-weight: 700; font-size: 14px; } /* Buttons */ .pg-product-card__actions { display: flex; flex-wrap: wrap; gap: 8px; } .pg-product-card__btn { display: inline-flex; align-items: center; justify-content: center; padding: 8px 14px; border-radius: 999px; font-size: 13px; font-weight: 600; text-decoration: none; border: 1px solid transparent; cursor: pointer; white-space: nowrap; } .pg-product-card__btn--primary { background: #000000; color: #ffffff; } .pg-product-card__btn--secondary { background: #ffffff; color: #000000; border-color: #cccccc; } /* Disclosure */ .pg-product-card__disclosure { margin-top: 8px; font-size: 11px; line-height: 1.4; color: #888888; } /* Mobile tweaks */ @media (max-width: 540px) { .pg-product-card { padding: 14px; } .pg-product-card__actions { flex-direction: column; align-items: stretch; } .pg-product-card__btn { width: 100%; } }

.rbm-pick { display: grid; grid-template-columns: 160px 1fr; gap: 16px; align-items: center; border: 1px solid #e6e6e6; border-radius: 12px; padding: 16px; } /* Media box — no cropping, no edge kiss */ .rbm-pick-media { height: 180px; /* fixed height for consistency */ padding: 8px; /* breathing room to avoid flat-cut edges */ box-sizing: border-box; /* keep total height = 180px */ border-radius: 10px; background: #fff; overflow: hidden; display: flex; align-items: center; justify-content: center; } .rbm-pick-media img { max-width: 100%; max-height: 100%; width: auto; /* preserve aspect */ height: auto; object-fit: contain; /* never crop */ object-position: center; display: block; } .rbm-badge { display: inline-block; font: 600 12px/1.2 system-ui; padding: 4px 8px; border-radius: 999px; background: #111; color: #fff; margin-bottom: 8px; } .rbm-title { font: 700 18px/1.3 system-ui; margin: 4px 0 8px; } .rbm-blurb { font: 400 14px/1.5 system-ui; color: #333; margin-bottom: 12px; } .rbm-pick-buttons { display: flex; gap: 8px; flex-wrap: wrap; } .rbm-pick .rbm-btn { display: inline-flex; gap: 6px; align-items: center; border: 2px solid #b50000; /* Premier Guitar red */ border-radius: 999px; padding: 10px 16px; text-decoration: none; font: 600 14px/1.2 system-ui; color: #b50000; background: #fff; box-shadow: 0 2px 5px rgba(0,0,0,0.12); transition: background .2s, color .2s, transform .15s; } .rbm-pick .rbm-btn:hover { background: #b50000; color: #fff; transform: translateY(-1px); } .rbm-pick .rbm-btn .price { opacity: 1; font-weight: 600; } /* Responsive tweaks */ @media (max-width: 540px) { .rbm-pick { grid-template-columns: 1fr; } .rbm-pick-media { height: 160px; padding: 6px; } } @media (min-width: 900px) { .rbm-pick-media { height: 200px; } }

.rbm-pick { display: grid; grid-template-columns: 160px 1fr; gap: 16px; align-items: center; border: 1px solid #e6e6e6; border-radius: 12px; padding: 16px; } /* Media box — no cropping, no edge kiss */ .rbm-pick-media { height: 180px; /* fixed height for consistency */ padding: 8px; /* breathing room to avoid flat-cut edges */ box-sizing: border-box; /* keep total height = 180px */ border-radius: 10px; background: #fff; overflow: hidden; display: flex; align-items: center; justify-content: center; } .rbm-pick-media img { max-width: 100%; max-height: 100%; width: auto; /* preserve aspect */ height: auto; object-fit: contain; /* never crop */ object-position: center; display: block; } .rbm-badge { display: inline-block; font: 600 12px/1.2 system-ui; padding: 4px 8px; border-radius: 999px; background: #111; color: #fff; margin-bottom: 8px; } .rbm-title { font: 700 18px/1.3 system-ui; margin: 4px 0 8px; } .rbm-blurb { font: 400 14px/1.5 system-ui; color: #333; margin-bottom: 12px; } .rbm-pick-buttons { display: flex; gap: 8px; flex-wrap: wrap; } .rbm-pick .rbm-btn { display: inline-flex; gap: 6px; align-items: center; border: 2px solid #b50000; /* Premier Guitar red */ border-radius: 999px; padding: 10px 16px; text-decoration: none; font: 600 14px/1.2 system-ui; color: #b50000; background: #fff; box-shadow: 0 2px 5px rgba(0,0,0,0.12); transition: background .2s, color .2s, transform .15s; } .rbm-pick .rbm-btn:hover { background: #b50000; color: #fff; transform: translateY(-1px); } .rbm-pick .rbm-btn .price { opacity: 1; font-weight: 600; } /* Responsive tweaks */ @media (max-width: 540px) { .rbm-pick { grid-template-columns: 1fr; } .rbm-pick-media { height: 160px; padding: 6px; } } @media (min-width: 900px) { .rbm-pick-media { height: 200px; } }

.rbm-pick-card { display: grid; grid-template-columns: 160px 1fr; gap: 16px; align-items: center; border: 1px solid #e6e6e6; border-radius: 12px; padding: 16px; background: #fff; box-sizing: border-box; font-family: system-ui, -apple-system, sans-serif; } /* Media box — no cropping, preserves aspect ratio */ .rbm-pick-media { height: 180px; padding: 8px; box-sizing: border-box; border-radius: 10px; background: #fff; overflow: hidden; display: flex; align-items: center; justify-content: center; } .rbm-pick-media img { max-width: 100%; max-height: 100%; width: auto; height: auto; object-fit: contain; display: block; } .rbm-badge { display: inline-block; font: 600 12px/1.2 system-ui; padding: 4px 8px; border-radius: 999px; background: #111; color: #fff; margin-bottom: 8px; } .rbm-title { font: 700 18px/1.3 system-ui; margin: 4px 0 8px; color: #111; } .rbm-sub { font: 400 14px/1.5 system-ui; color: #333; margin-bottom: 12px; } .rbm-pick-buttons { display: flex; gap: 8px; flex-wrap: wrap; } .rbm-pick-card .rbm-btn { display: inline-flex; gap: 6px; align-items: center; border: 2px solid #b50000; /* Premier Guitar red */ border-radius: 999px; padding: 10px 16px; text-decoration: none; font: 600 14px/1.2 system-ui; color: #b50000; background: #fff; box-shadow: 0 2px 5px rgba(0,0,0,0.11); transition: background .2s, color .2s, transform .15s; } .rbm-pick-card .rbm-btn:hover { background: #b50000; color: #fff !important; transform: translateY(-1px); } .rbm-pick-card .rbm-btn .price { font-weight: 700; } /* Responsive tweaks */ @media (max-width: 540px) { .rbm-pick-card { grid-template-columns: 1fr; } .rbm-pick-media { height: 160px; padding: 6px; } } @media (min-width: 900px) { .rbm-pick-media { height: 200px; } }

.rbm-pick { display: grid; grid-template-columns: 160px 1fr; gap: 16px; align-items: center; border: 1px solid #e6e6e6; border-radius: 12px; padding: 16px; } /* Media box — no cropping, no edge kiss */ .rbm-pick-media { height: 180px; /* fixed height for consistency */ padding: 8px; /* breathing room to avoid flat-cut edges */ box-sizing: border-box; /* keep total height = 180px */ border-radius: 10px; background: #fff; overflow: hidden; display: flex; align-items: center; justify-content: center; } .rbm-pick-media img { max-width: 100%; max-height: 100%; width: auto; /* preserve aspect */ height: auto; object-fit: contain; /* never crop */ object-position: center; display: block; } .rbm-badge { display: inline-block; font: 600 12px/1.2 system-ui; padding: 4px 8px; border-radius: 999px; background: #111; color: #fff; margin-bottom: 8px; } .rbm-title { font: 700 18px/1.3 system-ui; margin: 4px 0 8px; } .rbm-blurb { font: 400 14px/1.5 system-ui; color: #333; margin-bottom: 12px; } .rbm-pick-buttons { display: flex; gap: 8px; flex-wrap: wrap; } .rbm-pick .rbm-btn { display: inline-flex; gap: 6px; align-items: center; border: 2px solid #b50000; /* Premier Guitar red */ border-radius: 999px; padding: 10px 16px; text-decoration: none; font: 600 14px/1.2 system-ui; color: #b50000; background: #fff; box-shadow: 0 2px 5px rgba(0,0,0,0.12); transition: background .2s, color .2s, transform .15s; } .rbm-pick .rbm-btn:hover { background: #b50000; color: #fff; transform: translateY(-1px); } .rbm-pick .rbm-btn .price { opacity: 1; font-weight: 600; } /* Responsive tweaks */ @media (max-width: 540px) { .rbm-pick { grid-template-columns: 1fr; } .rbm-pick-media { height: 160px; padding: 6px; } } @media (min-width: 900px) { .rbm-pick-media { height: 200px; } }

We’ve teamed up with Reverend Guitars and Electro-Harmonix to give you the ultimate Smashing Pumpkins rig. Enter now for a chance to win a Billy Corgan Signature Z-One and an Op-Amp Big Muff Pi! Ends Feb 28, 2026.

Bill Corgan Prints Giveaway

See them in action!

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Greetings, and welcome to another Dojo. Ever wonder what goes into modelling amps and pedals? Typically, when guitarists talk about whether an amp model “sounds real,” we describe it in tonal terms—gain, EQ, distortion character. But great tone is the successful solution to a complex, essentially time-based problem.

Without getting needlessly technical, an amplifier is not a static filter that reshapes frequency content and stops there. It is a dynamic system that responds differently depending on what just happened, what is happening, and how much energy (a.k.a voltage) is being pushed through it. For modeling technology to work convincingly, it has to track complex changes over time, not just measure a snapshot of a moment of “tone.”

Early amp-modeling systems struggled because they focused primarily on spectral snapshots—what an amp sounds like at a given setting under a narrowly dynamic input level. Those snapshots, while accurate, were often remarkably limited. Real amplifiers don’t remain in one state long enough for a snapshot to matter. They are in constantly transitioning states.

Put your brain in slow motion for a moment. When a string is struck, the initial transient carries enormous energy. Harmonics bloom unevenly, as the fundamental note(s) emerge. Pick material and attack angle alter transient shape before the signal ever reaches the guitar— think fingerstyle versus pick. Also, string gauge and tension alter harmonic emphasis and decay. Pickups engage with the string differently depending on design and height. Guitar wiring and controls shape impedance and bandwidth. Cable capacitance subtly alters high-frequency behavior long before any gain stage is involved. By the time the signal hits the amp, it already contains a history.

What then reaches the amp input is already the result of a complex upstream system, and inside the amplifier, that history continues to develop. Preamp stages interact with tone stacks in non-linear ways. Gain staging determines not only how much distortion occurs, but where it occurs. Effects loops interrupt the signal path at predetermined stages, altering how time-based effects are compressed and re-energized. As gain stages are pushed, harmonic content doesn’t simply increase—it redistributes.

“Convincing modeling can’t focus solely on recreating individual elements in isolation.”

Then comes the power amp—arguably the most misunderstood contributor to feel. Power amps do not simply make things louder. They can also compress under load, recover, and compress again. They respond differently depending on frequency content and sustained energy.

Finally, the speaker and cabinet take over, and physics takes the wheel. Speakers have inherent inertia and wildly different efficiency curves depending on materials and volume. Cabinets add another layer, with resonant frequencies shaped by their dimensions, storing and releasing energy at varying rates.

Now put your brain back into normal speed. Our ear perceives this entire chain as a single event!

A convincing “model” must pass a variety of static and dynamic signals through the real device, measuring input-output behavior, and then build DSP and machine learning to match those behaviors accounting for how dynamic range, harmonic density, compression, and spectral contour shift together across the time domain.

Our ear is exquisitely sensitive to these changes, particularly to the rate at which they occur. Too fast, and the modeled sound comes off stiff. Too slow, and it feels detached.

This is why convincing modeling can’t focus solely on recreating individual elements in isolation. What matters is gestalt behavior: how the whole system responds as energy flows through it, moment to moment.

How do modelers do this? Most developers—Neural DSP, Universal Audio, Kemper, Fractal, Line 6, and others—blend multiple approaches. These typically include running a range of static and dynamic signals through the real device to measure input–output behavior, isolate artifacts, and quantify nonlinear characteristics; circuit analysis (where designers model each component’s behavior mathematically and derive a transfer function for DSP implementation); and extensive listening tests. Increasingly, machine-learning models are trained and iterated to capture the unit’s behavior across multiple control settings, with each pass refining the results.

For players, this means that now more than ever we can enjoy legendary amp and pedal tones in powerful, highly portable hardware or in software form—along with tremendous flexibility when recording, consistent “perfect tone” performance (no tubes or speakers to fail), and the ability to be deeply creative with our tonal palette by mixing amps, speaker cabinets, microphones, and even modeled room environments.

Am I giving up my real amps? Never. But I’m completely comfortable using either technology as I see fit—and enjoying what each brings to the process. Until next time, namaste.

Great music tells a story. It builds on a plot and holds the listener’s attention as the story unfolds. We are especially moved by soloists who bare their souls and who keep us riveted with every twist and turn from their narrative. Pentatonics are the backbone of modern guitar vocabulary. Partially because they just sound good, but also because they lay so easily on guitar. There are several ingredients that make a guitarist sound brilliant, but one of the most important is chromaticism. Could there a be a way we could combine these two? Let’s find out.

This term chromaticism comes from the Greek word chroma, which means “color.” Using chromaticism means having the freedom to use all 12 notes over a given chord. Imagine the possibilities and freedom to play any note over a chord in composition or improvising! The quickest way to start adding color notes to the minor pentatonic scale is to add the 2nd and the 6th, which then gives you a Dorian mode. I’ve outlined it below using the A minor pentatonic scale.

A Minor pentatonic: A–C–D–E–G

A Dorian: A–B–C–D–E–F#–G

In general, there are chromatic notes that are outside the chord/scale, and notes that are outside the key. The latter carries a lot of tension against a chord and needs movement or resolution. From my days of playing jazz gigs in Toledo, OH, I recall what legendary trumpeter Jimmy Cook once told me regarding playing outside: “You can go up to the attic, but you have to come back down.” In other words, you can play outside tonally, but you must resolve at some point in order for your music to sound coherent.

Let’s get started on this journey of chromaticism together.

Before we go hog wild and add random notes, let’s begin by taking an A minor pentatonic scale and fill in the chromatic notes between the already existing box pattern. It’s almost arbitrary, but it will enable you to hear different colors added within the scale (Ex. 1).

Chromatic Burst of Energy. In beat 1 of Ex. 2, we start with an A Dorian fragment followed by an extended chromatic line. The line in beat two starts on the b7 (G), highlighting the b5 (Eb) on beat 3, descending chromatically all the way down to B, and ending with A major pentatonic.

Bounce Around! We start on the b5 (Eb) followed by a typical chromatic rotation where we bounce around the b5. This idea lays quite well in the familiar pentatonic box. It’s easy and will add spice to your shredding (Ex. 3).

Side Stepping. A common approach to playing “outside” is side stepping. In other words, take the scale you’d normally use and displace it by a half-step above or below. By doing this, you’ll have instant access to notes that are harmonically outside the key—don’t think of them as wrong notes, just coloring notes. In Ex. 4 we take a pentatonic pattern from E minor pentatonic and sequence it in F minor pentatonic. As the notes can be analyzed over the E5 chord, it’s more important to view them as passing notes. Remember, the power of the sequence overrides the harmony!

Extend the Side Step. Ex. 5 uses the same concept of side stepping above but adds a note (D) to the displaced pattern. By doing so, this breaks the predictability of the phrase and places subsequent notes in new places.

Changing Tones. Ex. 6 is a fun lick to learn that starts with a strong, repeated three-note polyrhythmic figure (A#–B–D). The chromatic part occurs on beat 4 and utilizes changing tones, which is a type of non-harmonic tone.

Don’t Start On 1. The line starts on the 2nd (B), goes up a whole-step to C# followed by a double chromatic approach to Bb, down a whole-step to (G#), and finally resolving to the root (A). Once the A note is reached, there’s a cascading flurry of four-note groups settling in A minor pentatonic (Ex. 7).

Scrambles. This example (Ex. 8) was inspired by the legendary New York guitarist, Mark Hitt. Mark was a unique player, combining a rock sensibility with a jazz quotient. He developed an arsenal of twisting lines using chromaticism that he referred to as “scrambles.”

The pattern alternates between 1–3–4 and 1–2–4 fingerings, a typical fingering of the diminished scale. It can be analyzed where notes of the pentatonic are being targeted, but it’s all about the texture and excitement that is created. Make sure to play the line with slurs to get a fluid, legato sound.

Half-Step Approach. In this instance, we take the Im triad (Am) from the pentatonic scale and approach each chord tone from a half-step below (Ex. 9). This is more of a concept and exercise rather than a lick. This idea can be used with just about any improvising application.

One String Wonder. Ex. 10 highlights a series of chromatically descending half-steps. It’s an easy technique to get down and one I often use. It provides melodic interest, but also serves as an easy way to connect one position to the next. Here, we start on a high F that walks down a fourth to C in half-steps, followed by a C minor blues phrase.

Practice Tip

These chromatic lines sound best when played fast and with conviction. As always, approach new material slowly and accurately. Ignore your inner voice that may tell you that the “outside” notes are wrong. Once you’re able to play the lines up to speed, you’ll be amazed by how impressive it sounds. These ideas that will add motion, color, and excitement to your playing and enhance your musical expression when soloing.

Dave and Tom were so excited about this episode with Mr Big and Racer X guitarist Paul Gilbert that they almost fainted right before taping, leaving a very unamused Cindy to host it alone. It takes a lot to fluster an Axe Lord, but the prospect of talking to Paul Gilbert about designing his Fireman guitars, getting a guided tour through his collection of vintage Ibanez treasures, and finding out how to properly rig a power drill for speed picking is almost more than any fan of highly technical guitar wizardry could stand.

Gilbert, who is promoting his rifftastic new concept album WROC - based on the George Washington-penned tome Washington’s Rules of Civility, is also the first, but hopefully not the last, Axe Lords guest to introduce cosplay to the show. To whit, he appears sporting a revolutionary war-styled Tricorn hat, the perfect accessory for schooling us not just in arcane bits of American history but also in the finer points of high-stakes shred protocol.

Axe Lords is presented in partnership with Premier Guitar. Hosted by Dave Hill, Cindy Hulej and Tom Beaujour. Produced by Studio Kairos. Executive Producer is Kirsten Cluthe. Edited by Justin Thomas (Revoice Media). Engineered by Patrick Samaha. Recorded at Kensaltown East. Artwork by Mark Dowd. Theme music by Valley Lodge.

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

Follow @paulgilbert_official

Soyuz Microphones has launched the V1 Dynamic, the first dynamic mic from the acclaimed boutique manufacturer.

For over a decade, Soyuz Microphones has been known for original, handcrafted condenser microphones that blend classic character with modern innovation. Equally at home on stage and in the recording studio, the new V1 Dynamic provides an open, condenser-like clarity and the punch, control, and forgiveness that make dynamic microphones essential.

Named after the spacecraft that carried the first human into space in 1961, the V1 reflects Soyuz’s push into new creative and technical territory.

The V1's naturally extended top end, balanced midrange, and focused low end deliver a smooth, articulate response that sounds right from the start, needing no EQ to "come alive." The controlled proximity effect allows instruments and performers to work close to the grille for full-bodied tone without muddy buildup.

"The V1 Dynamic is an important milestone for us," said David Brown, President and Co-Founder of Soyuz Microphones. "We had always considered building a dynamic mic someday, but we held off until we could create something truly unique that felt genuinely like a Soyuz in both sound and design. It's durable, musical, and simple. It's a dynamic sounding dynamic."

Like all Soyuz products, the V1 is 100% original from concept to construction. Every element is carefully designed and engineered in-house to create a dynamic microphone that sounds as remarkable as it looks.

At the core of the V1 is a custom Soyuz transformer for a hint of color that retains detail. The precision-machined headbasket goes beyond aesthetics, serving as an acoustic component carefully shaped to refine the sound before it even reaches the capsule. The mic’s body is designed to feel balanced in hand and command attention on stage.

SEE THE DEMO VIDEO HERE: https://www.youtube.com/shorts/C_fs4nENjeA

The V1 was developed through hands-on testing and direct feedback from major artists across diverse genres, including Beck, LCD Soundsystem, My Chemical Romance, and many more, during extensive tours and studio sessions.

The V1 Dynamic is engineered to endure the demands of modern recording and real-world performance night after night.

The Soyuz V1 Dynamic carries a street price of $279. For more information, visit soyuzmicrophones.com/v1-dynamic.

Abasi Concepts and Córdoba® announce the release of the Abasi® Stage 7, a purpose-built nylon string electric guitar engineered from the ground up for electric guitarists seeking authentic nylon tone without the traditional limitations of classical instruments.

Designed with Abasi Concepts on its Larada ergonomic platform and built upon Córdoba’s proven Stage solidbody nylon-string concept, the Abasi Stage 7 redefines what a nylon-string guitar can be in a contemporary performance environment. Rather than adapting a classical instrument for stage use, it was conceived specifically for electrified performance, extended-range clarity, and seamless transition from electric guitar technique.

“At its core, this guitar exists to remove barriers,” said Abasi Concepts. “Electric players are often drawn to the sound of nylon, but held back by feedback, ergonomics, string spacing, or playability. The Abasi Stage 7 was designed to eliminate those obstacles entirely.”

The Abasi Stage 7 features a thin, resonant, extensively chambered mahogany body with custom internal bracing that balances acoustic character with controlled stage performance. This construction minimizes feedback at higher volumes while preserving the organic response expected from nylon strings. Built on the ergonomic foundations of the Larada platform, its sculpted contours and streamlined body depth integrate naturally with the player’s body, whether seated or standing.

Unprecedented for this category, the Abasi Stage 7 offers full 24-fret access with exceptional upper-register reach, enabling modern phrasing, extended techniques, and fluid lead playing rarely associated with nylon-string instruments. Its 7-string multiscale design, tuned B to E, delivers piano-like depth and articulation on the low string while maintaining elasticity, precision, and expressive control on the treble side.

String spacing is intentionally narrower than that of a traditional classical guitar, allowing electric players to transition instinctively without relearning hand mechanics. The result is a nylon-string instrument that feels immediately familiar while opening new sonic territory.

All Abasi Stage 7 guitars are equipped with a bespoke Stage pickup system co-developed by Córdoba and Fishman®. Combining an under-saddle transducer with internal body sensors, the system delivers a natural, balanced nylon-string tone while eliminating the piezo “quack” commonly associated with amplified nylon guitars. A professional-grade preamp with side

mounted Volume, EQ, and Body Blend controls provides precise tonal shaping for live and studio use.

Each model features Córdoba’s Exotic Top design, pairing a solid spruce top with an ultra-thin premium exotic wood veneer to achieve an ideal balance of tone, resonance, and visual depth.

Additional features include a side-mounted oval soundhole, a mahogany flat C-shape set neck with rosewood fingerboard, black top purfling, a Fusion Fan headstock with rosewood overlay and inlaid Córdoba and Abasi logos, a rosewood bridge with bone saddle, and a bone nut.

This collaboration unites Abasi Concepts’ forward-looking design language with Córdoba’s deep expertise in nylon-string construction, manufacturing, and its Stage platform. Together, the two brands have created an instrument that defines a new class of nylon-string guitar, delivering professional-level performance at a price point designed to expand access to this evolving category.

© 2026 Yamaha Guitar Group, Inc. All rights reserved.

Córdoba and the Córdoba logo are trademarks or registered trademarks of Yamaha Guitar Group, Inc. in the U.S. and/or other jurisdictions.

Abasi and Larada are trademarks of Abasi Concepts.

Fishman is a trademark of Fishman Transducers Inc.

KEY FEATURES

• Designed on the Abasi Concepts Larada ergonomic platform
• Córdoba Stage nylon-string construction
• 7-string multiscale design for optimal balance of tension and playability
• Thin, chambered body for reduced feedback and enhanced resonance
• Full 24-fret access for modern phrasing and lead work
• Narrower string spacing for seamless transition from electric guitar
• Custom Fishman Stage pickup system with body sensors for live performance • Side-mounted Volume, EQ, and Body Blend controls for live and studio tone shaping • Solid spruce top with exotic wood veneer
• Ships with Córdoba Abasi gig bag

SPECIFICATIONS

• Body: Chambered solid mahogany with custom internal bracing
• Top: Solid spruce with ultra-thin exotic wood veneer
• Neck: Mahogany set neck, flat C-shape
• Fingerboard: Rosewood
• Scale Length: Multiscale
• Frets: 24 fanned frets
• Fingerboard Radius: Compound 16"-24"
• Nut: Bone
• Bridge: Rosewood with bone saddle
• Headstock: Fusion Fan with rosewood overlay and inlaid logos
• Pickup System: Stage pickup system with under-saddle transducer and internal body sensors
• Controls: Side-mounted Volume, EQ, and Body Blend • Tuners: Córdoba brushed brass tuners
• Finish Options: Acacia, Ziricote, White Burst

Alex Lifeson and Lerxst, in collaboration with legendary pedal innovators Morley, announce the release of the Lerxst ATWAS (All The World’s A Stage) Wah / Volume Pedal available now for $299 as a limited-run of 500 pedals exclusively through the LERXST Reverb Store. For more information and to purchase, please click here.

Designed for expressive live performance and uncompromising tonal integrity, the ATWAS combines Morley’s iconic optical Wah with ultra-smooth optical Volume control and an onboard Wah Boost—delivering a versatile, stage-ready tool built for modern players who demand feel, reliability, and tone in equal measure.

Inspired by Lifeson’s decades-long relationship with Wah and Volume pedals as tools of musical expression, the ATWAS is engineered to respond naturally to playing dynamics while preserving the player’s core tone. From subtle swells to commanding lead lines that cut through the mix, the ATWAS is built failsafe for real-world stages, studios, and sessions.

“All the world’s a stage, and how you control dynamics on that stage matters,” explains Lifeson. “Wah and volume pedals have always been essential tools for me, not just effects. With the ATWAS, we focused on creating something that feels completely natural underfoot, preserves your tone, and gives you control without distraction.”

At the heart of the ATWAS is Morley’s proven optical circuitry, eliminating the wear and tear associated with traditional potentiometers. A dedicated Wah / Volume mode switch allows players to select their preferred operation, while the Wah Boost control offers up to 20dB of additional gain—perfect for pushing solos forward without altering the fundamental character of the sound.

“The collaboration with Alex is always about purpose,” said Scott Fietsam of Morley. “The ATWAS isn’t about adding gimmicks—it’s about refining essential tools. Optical Wah, Optical Volume, premium buffering, and rock-solid construction. This pedal is designed to work night after night, exactly the way a professional needs it to.”

Housed in a cold-rolled steel enclosure with a chrome finish and Tel-Ray-style detailing, the ATWAS also features a glow-in-the-dark treadle grip for confident footing on dark stages. Like all Lerxst pedals, it is proudly made in the USA.

Lerxst ATWAS Specifications

• Wah / Volume Mode Switch
• Wah Boost Control (up to +20dB)
• Smooth Optical Wah & Volume Circuitry
• Premium Morley Buffer Circuit
• Glow-in-the-Dark Treadle Grip
• Cold Rolled Steel Enclosure
• 9V DC Center-Negative Power
• Made in USA

Asked whether the world really needs another Wah pedal, Lifeson offered the following perspective:

“All the world’s a stage… but you still need the right tools to play your part.”

For more information on the Lerxst ATWAS Wah / Volume Pedal, please visit: https://lerxstamps.com

Blackstar Amplification announces the launch of the new ID:X Digital Floorboard series, a powerful new family of advanced DSP floor modelers. Designed in Northampton, UK, the ID:X Floor range has been created for electric guitar, bass and acoustic guitar players who need professional sound, intuitive control and complete connectivity in a single, stage-ready unit. Blackstar set out to solve a familiar problem—how to combine the flexibility of a modern digital modeller with the immediacy and feel of a real amplifier and achieved it through advanced component-level modelling, authentic “In The Room” tone technology, simple, musician-focused controls and three carefully tailored models to suit every style of player.

At the heart of every ID:X Floor unit is a high-performance modelling platform that captures the true behavior and musical response of tube amplifiers rather than simply recreating their sound. The series delivers 12 authentic electric amp models alongside three bass amp models, two acoustic voices and an acoustic simulator, complemented by Blackstar’s patented ISF tone shaping and selectable EL84, EL34 and 6L6 power-valve Responses to recreate the feel of different tube architectures under the fingers. More than thirty-five effects are directly editable from the top panel, including drives, modulation, delays and reverbs, while exclusive “In The Room” technology allows players to experience the dynamic sensation of an amp moving air, whether using the floorboard direct to front of house, recording, or integrating into an existing rig. CabRig speaker and microphone simulation with room options is fully controllable from the unit, and 99 patches can be created, stored and recalled without menu-diving thanks to an intuitive control layout and clear OLED display.

The series introduces three distinct models. ID:X Floor One offers the core platform in a compact footprint, providing full amp modelling, effects, CabRig, USB-C audio interface capability, MIDI input, XLR outputs, tuner, streaming input and headphone connectivity. ID:X Floor Two builds on this by adding an onboard expression pedal that can control Wah, volume or expression parameters, making it ideal for players who want continuous real-time performance control while keeping the same sound engine, editing capability and connectivity. At the top of the range, ID:X Floor Three expands the concept further with MIDI IN and THRU, an effects loop for integration with external pedals, extended switching for patches and effects, and a larger chassis designed for more advanced stage use, while maintaining the same immediate, musician-focused workflow across the lineup. All three models support deep software editing and online patch sharing via Blackstar’s free Architect software, connecting players to a wider creative community.

In use, the ID:X Floor series is intended to feel like a real amplifier rather than a menu-driven processor. Blackstar’s component-accurate modelling, precision tone-stack behavior and carefully developed interaction between preamp, power section and speaker response contribute to a lively, responsive playing experience that reacts dynamically to touch. Combined with robust I/O, USB-C audio interface functionality and an emphasis on ease of use, the ID:X Floor range is positioned as a complete professional floor solution for studio, rehearsal and live performance alike.

For further information on the new Blackstar ID:X Floor range, including ID:X Floor One, ID:X Floor Two and ID:X Floor Three, please visit NAMM Booth #6802 or online at www.blackstaramps.com

Street Price:

ID:X Floor One $269.99 USD

ID:X Floor Two $319.99 USD

ID:X Floor Three $399.99 USD

Aguilar has announced the TLC DLX Compressor EQ, an expanded evolution of its trusted TLC Compressor pedal. Designed to give bassists complete control over dynamics while adding musical tone shaping inspired by classic studio workflows, the TLC DLX follows a simple philosophy: control dynamics first, then enhance tone. The result is transparent compression paired with broad, musical EQ in a compact, pedalboard-friendly format suited for both stage and studio use.

At the core of the TLC DLX is a comprehensive compressor control set featuring Threshold, Attack, Release, Ratio, Output, and Blend. These controls allow bassists to shape not just how much compression is applied, but how it feels—from subtle dynamic smoothing to firm peak control. An integrated LED gain-reduction meter provides clear visual feedback for dialing in consistent results, while the Blend control enables parallel compression, preserving natural feel and articulation while adding punch and consistency. The Output control compensates for gain reduction, making unity gain easy to achieve.

Beyond dynamics, the TLC DLX adds integrated tone shaping inspired by Aguilar’s DB 925 boost circuit. Broad, boost-only Bass and Treble controls enhance the instrument’s natural character, adding fullness, clarity, and presence without harshness. Used alongside compression, the EQ helps bass tones sit comfortably in a mix while remaining expressive and musical.

Designed as a compact channel strip for the pedalboard, the TLC DLX delivers studio-inspired dynamic control and tone enhancement in a format built for real-world bass performance. “The original TLC Compressor has been part of so many players’ rigs for years, and the TLC DLX is a natural evolution of that idea,” says Aguilar. “We kept the feel and musicality people love, but expanded on it by adding tone shaping inspired by our classic designs. The result is a pedal that still feels familiar, but gives bassists more flexibility and expression than ever before.”

For more information, visit NAMM Booth 6802 or online at www.aguilaramp.com

The TLC DLX Compressor EQ is available now with a street price of $329.99.

At the 2026 NAMM Show in Anaheim, Synergy will debut a patent-protected Machine-Learning power amp technology that combines the convenience, light weight, and power of class D, with the tone and feel of tubes, for a no compromise amplification solution. This revolutionary design is different than anything currently in the market!

Background - For decades, traditional tube amplifiers have remained the gold standard for guitarists seeking expressive feel, touch sensitivity and harmonic complexity. These qualities come from two critical factors: the inherent nonlinear behavior of the vacuum tubes and the complex real-time interaction between the amp and its speaker cabinet.

While Class D designs have improved in efficiency and portability, their inherent low-impedance output stage makes them an obstacle to recreating true tube amp tone.

Attempts to remedy this have consistently fallen short - often relying on static models and fixed impedance assumptions, resulting in a stiff and sterile tone and a

disconnect from the guitar player. Increasing the impedance outage stage has also failed, as doing so makes the amplifier inefficient or extremely unstable.

Until now!

Synergy’s invention takes a fundamentally different approach, combining high-efficiency, low-impedance Class D output stages, advanced digital signal processing and a proprietary, patent-protected Machine-Learning system that continuously measures voltage and current in real-time at the speaker output.

During initial operation, the amplifier learns your cabinet's impedance through controlled sweeps, then continues to monitor it in real-time. The Machine-Learning power amplifier dynamically adapts to recreate true tube amp voltage-current behavior, including sag, compression, frequency-dependent damping and harmonic richness.

The result is authentic tube amp feel and tone that translates naturally across different cabinets and playing situations, while retaining the efficiency, stability, portability and updatability of modern amplifier designs.

Synergy’s Machine-Learning power amp was designed from the ground up by guitar players, for guitar players, including modern features guitarists demand and consistent, stable and robust power across all speaker cabinet impedances!

To bring this revolutionary technology to life STMicroelectronics enabled SYNERGY as an alpha customer on their new advanced STM32V8 mcu series, which combines advanced 18 nm FD-SOI and ST’s phase-change memory (PCM) technology with a powerful 800 MHz Arm Cortex®-M85 core, delivering up to 6x faster Machine-Learning and DSP processing than previous product generations.

Legends Unite

Synergy has partnered with industry giants Brian Wampler and Dave Friedman in collaboration with Pete Thorn to bring this technology to life with the following products that will debut at NAMM:

Brian Wampler’s PEDALHEAD - a super-compact pedalboard friendly 240W (60 tube watt equivalent), stereo power amp with IR loader, MIDI and 6 power amp models.

Dave Friedman IR-LOAD, a collaboration with Pete Thorn, that is an all-in-one 360W (90 tube watt equivalent), stereo power amp/load box/attenuator/IR loader/MIDI.

These exciting new products will be demonstrated live at the 2026 NAMM Show at the Boutique Amps Distribution booth (#4626). Dave Friedman and Brian Wampler will be on hand for demonstrations, discussions, and media interviews throughout the show.

The grossest of ’em all rolls through Nashville.

When GWAR stomped through Nashville with the goriest gear of all, we had to take a look. PG’s Chris Kies caught up with the band at Marathon Music Works to hang with Grodius Maximus, Bälsäc the Jaws ’O Death, and Casey Orr (aka Beefcake the Mighty). The band rolls cab-free, armed with a stack of dangerously signature gear.

Sponsored by D’Addario

Totally Radical

Grodius Maximus’ rig is all about spectacle, aggression, and controlled chaos—designed to sound less like a guitar and more like a “big crazy animal.” His primary instruments come from Radical Instrument Products in Salt Lake City. His go-to is pointy, pink, and equipped with a locking tremolo and a single humbucker. He also carries a gold neck-through model loaded with a pair of humbuckers and a coil tap.

Inspired by Buzz

Rounding out the guitar lineup is an Electrical Guitar Company instrument—something Grodius was turned onto by Buzz Osborne of the Melvins. That guitar features dual humbuckers and a Mastery bridge, adding a slightly more refined edge to an otherwise savage setup.

Dark Favorite

Grodius calls the Orange Dual Dark 100 his favorite amp of all time. While it’s not being used onstage for this show, its DNA is still present via a Kemper, which houses a model of the Dual Dark that anchors his core tone.

All Sorts of Nasty

Effects are where things get truly unhinged. On his rack, a Line 6 Filter Pro handles “all sorts of nasty tones,” while a lineup of Bananana Effects pedals sit in reserve, ready to be unleashed when needed. Switching duties are handled by a Voodoo Lab Guitar Audio switcher, and he also shows off a Death By Audio prototype, alongside trusted staples like the DBA Echo Dream 2 and DBA Robot.

His actual pedalboard is deceptively compact but vicious: a Boss Chromatic Tuner, a Line 6 FM4 pedal, a Hotone expression pedal, DOD Gonkulator, Bananana Mandala, and an MXR Carbon Copy Bright, all powered by a Voodoo Lab supply.

Bälsäc the Jaws ’O Death - Blue Beast

Bälsäc’s rig blends modern metal precision with an openness to conventional and unconventional tools. His signature Schecter Bälsäc Blue Jaw model—soon to be released at what he jokingly calls “an exorbitant price”—is constructed using material from his actual costume. Finished in Antarctic crackle, it’s loaded with a pair of blue Fishman Fluence pickups, delivering clarity and aggression in equal measure.

Non-Metal Vibes

He also relies heavily on a Schecter PT Custom with a purple finish—a T-style guitar that initially raised eyebrows. “It’s surprising how much I love the PTs,” he admits. “It’s such a non-metal shape.” The guitar is outfitted with Fishman Fluence pickups and an Amptone XY MIDIpad, which wirelessly controls his Fractal Axe-Fx III.

Modeling Rig

The Axe-Fx handles amp modeling duties, often dialed in to a Mesa/Boogie-style sound. He also rocks the familiar purple Line 6 Filter Pro. Because Gwar performs to click tracks, all patch and effect changes are automated through Ableton, keeping everything locked tight.

Chaos via Kaoss

Bälsäc’s pedalboard is deep and experimental: a Chase Bliss Onward, Death by Audio Robot and Disemboweller, and a Meris Ottobit and Hedra. In the rack, he keeps a Korg Kaoss Pad, EarthQuaker Devices Data Corrupter, and an EHX C9 organ emulator, allowing him to blur the line between guitar, synth, and noise weapon. He even uses a Moog Theremini as an expression controller, further expanding his sonic vocabulary.

Casey Orr/Beefcake the Mighty - Slim Nikki

Handling low-end duties behind the scenes is Casey Orr, who you might better as Beefcake the Mighty. His primary instrument is the Schecter Casey Orr Beefcake Bass, which shares its electronics with the Riot 4, but features a Nikki Sixx–style body, slimmed down for comfort. The bass also sports a thinner neck, along with 24 frets, a kill switch, and a pair of EMG pickups—a combination Orr describes simply as “super comfortable.”

Backpack Rig

On the amplification side, the cornerstone of Orr’s sound is the Darkglass Alpha·Omega Ultra, which he calls the “missing link” in achieving the bass tone he’d previously been chasing—aggressive, articulate, and perfectly suited to Gwar’s controlled mayhem.

Bälsäc the Jaws ’O Death
Boss Chromatic Tuner
Darkglass Alpha Omega Ultra
DOD Gonkulator
Electro-Harmonix C9
EarthQuaker Devices Data Corrupter
Hotone Expression Pedal
Meris Hedra
Meris Ottobit
Moog Theremini
Schechter Purple PT Custom
Voodoo Lab Guitar Audio Switcher
Voodoo Lab Power

The new line of condenser microphones delivers premium, true-to-life audio capture with ultra-low self-noise in a sleek, modern design.

Shure, a leading manufacturer of audio solutions known for quality, performance, and durability, unveiled its new KSM condenser microphone line today—the KSM32C, KSM40C, and KSM44MP—at NAMM 2026. The new KSM series delivers lifelike fidelity and a thoughtfully engineered design, crafted for musicians and studio professionals.

Shure KSM microphones have delivered exceptional audio quality for decades. With the launch of new models, the KSM line once again sets the benchmark for professional recording by providing premium, true-to-life audio capture and ultra-low self-noise, all within a sleek, modern design.

The KSM line captures every nuance, from the warmth of vocals to the dynamic energy of instruments, with stunning realism. Each model features precision-engineered capsules for maximum control and accuracy, ensuring the source sounds exactly as intended. Whether you're a musician or engineer needing transparent voicing for natural reproduction, rich low-end presence, or multi-pattern flexibility, there’s a KSM microphone ready to elevate any session.

“At Shure, our mission has always been to empower audio professionals and artists with quality tools that deliver uncompromising sound,” said Eduardo Valdes, Associate Vice President of Global Marketing and Product Management, at Shure. “The new KSM microphone line reflects this commitment by offering upgrades to both design and engineering, meeting the evolving needs of recording studios. Featuring circuitry upgrades from previous models, varied capsule options, and premium accessories, we designed every detail to help professionals capture precisely what they want. By making boutique-level quality attainable for both home and professional studios, we’re ensuring exceptional performance is within reach for all professionals."

The KSM Studio Lineup

Built for precision and performance, the new line includes a range of expertly engineered and hand-crafted capsules, from compact ¾" to robust 1" designs, offering exceptional off-axis rejection, clarity, and creative flexibility for vocals, instruments, ensembles, and beyond. Thoughtful details like lightweight, all-metal construction, advanced shock mounts, and curved magnetic pop filters ensure durability and ease of use, while premium accessory options complete the professional package.

• KSM32C—SMALL CAPSULE. BIG SOUND.

The KSM32C is a large diaphragm condenser microphone that delivers a smooth, balanced response and exceptional low-frequency performance. This microphone is ideal for vocals, instruments, drum overheads, and ensemble work, and is available in a stage and studio bundle.

• Precision engineered ¾" capsule
• Exceptional off-axis rejection
• Flattest voicing in the KSM line
• Exceptional flexibility for vocal and instrument recording
• Premium materials and compact design

• KSM40C—WARMTH YOU CAN FEEL. DETAIL YOU CAN HEAR.

The KSM40C is a versatile, large diaphragm condenser microphone that delivers natural, detailed audio with enhanced proximity effect and natural high-frequency boost. An ideal microphone for capturing rich nuances in vocals and instruments, including upright bass, guitar amps and kick drum.

• 1” capsule delivers natural, detailed audio with rich low-end
• Uniform cardioid polar pattern for predictable placement
• Extremely low self-noise
• Sleek, modern design with premium materials

• KSM44MP—STUNNING REALISM. EXCEPTIONAL VERSATILITY.

The KSM44MP offers unparalleled versatility in a sleek, dual-diaphragm design that maximizes sensitivity and stabilizes pattern consistency, improving off-axis control at low frequencies. A multi-pattern microphone with natural clarity and smooth, airy detail, this mic is ideal for vocals, pianos, stereo techniques, distant miking, and ensembles.

• Selectable polar patterns: Cardioid, Omnidirectional, and Bidirectional
• Flat response with subtle high-frequency emphasis
• Optimized polar consistency and low-frequency rejection
• Ultra-low self noise
• Sleek, modern design

“The new KSM microphones look elegant, and have great, low-profile appearance, which is always a nice aesthetic in the studio (and live) environment,” said Greg Norman, Engineer, Electrical Audio. “One of the most immediately striking features is their impossibly low self-noise, so low, in fact, that while tracking a very quiet vocal, I found myself double-checking to confirm the mic was even active. This level of noise performance is seriously impressive.”

What’s Included

• KSM32C/HM—Cardioid Condenser Microphone (Stage Kit) ($659): Includes a KSM32C Cardioid Condenser Microphone, Premium Flocked Foam Windscreen, Premium Zippered Carrying Case, Swivel-Mount Mic Clamp (Hard Mount), Threaded Adapter
• KSM32C/SM—Cardioid Condenser Microphone (Studio Kit) ($729): Includes a KSM32C Cardioid Condenser Microphone, Shock Mount, Magnetic Pop Filter, Premium Zippered Carrying Case, Set Replacement Shock Mount Bands (8), Threaded Adapter
• KSM40C Large Diaphragm Cardioid Condenser Microphone ($879): Includes a KSM40C Large Diaphragm Condenser Microphone, Shock Mount, Magnetic Pop Filter, Premium Zippered Carrying Case, Set Replacement Shock Mount Bands (8), Threaded Adapter
• KSM44MP Large Diaphragm Multi-Pattern Condenser Microphone ($1,099): Includes a KSM44MP Dual Diaphragm Multi-Pattern Condenser Microphone, Shock Mount, Magnetic Pop Filter, Premium Zippered Carrying Case, Swivel-Mount Mic Clamp (Hard Mount), Set Replacement Shock Mount Bands (8), Threaded Adapter

Availability

The KSM line will be available this spring and is on display at the Shure Booth (#15608) at NAMM 2026 in Anaheim (January 22- January 24).

For more information about the KSM microphones, visit these web pages:

• KSM32C Cardioid Condenser Microphone
• KSM40C Large Diaphragm Cardioid Condenser Microphone
• KSM44MP Large Diaphragm Multi-Pattern Condenser Microphone