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Legendary musician, guitarist and songwriter Tom Morello has unveiled his latest full-length project, and first solo rock album, *Everyone Gets Everything They Want*, arriving September 25th via Mom + Pop Music. Further cementing his reputation for fusing high-octane rock with unwavering activism, the new collection confronts issues of fascism, immigrant rights, and global political turmoil. The record is anchored by Morello’s revolutionary fretwork, blending thunderous riffs, otherworldly solos, and an uncompromising lyrical vision. Production credits include Tyler Smyth, Carl Restivo, Zakk Cervini, Dan Carey, and Sam Nelson Harris.

Everyone Gets Everything They Want

The music spans a diverse array of styles and collaborators, reflecting decades of experience as a songwriter and performer. Serj Tankian, Kneecap and Beartooth all make appearances, and Morello’s fifteen year old guitar wiz son Roman, who has been startling audiences on tour with his dad the past three years, shares writing credits on five songs, contributing monster riffs and fiery solos.

Morello has released two songs so far from the album- the most recent being “Date Night”. The song tells the true story of three young Dutch girls who served as spies, saboteurs, and assassins against the Nazis during World War II. Sisters Truus and Freddie Oversteegen and their close friend Hannie Schaft used their youth and innocent appearances to slip through checkpoints, to smuggle weapons, to sabotage rail lines, and to help hunted Jewish children escape persecution. Most famously, they acted as underground assassins, seducing Nazi officers, luring them into the woods and killing them. Hannie was eventually captured, tortured, and killed by the Nazis, but she never snitched on her comrades.

Morello says, “I make anti-racist songs for anti-racists. I make anti-fascist songs for anti-fascists. And I make anti-Nazi songs for anti-Nazis. ‘Date Night’ is really a ‘which side are you on?’ song. If any of that offends you, do the math. Oh, and Roman Morello wrote the killer riff in this tune.”

Morello previously released the song “Adjourn It”. The track features Serj Tankian as well as Roman, and condemns the rising tide of racism and anti-immigrant bigotry. For the song’s video, clips from the film SALT OF THE EARTH (1954), are woven throughout the “Adjourn It” video to reflect the song’s theme of resistance in the face of prejudice and injustice.

Morello has a long history of organizing activism-oriented concerts, rallies, and events, and continues to be a leading voice for social justice causes and workers and immigrants rights issues across the country and around the world. In addition to his solo work with The Nightwatchman and his role in Rage Against the Machine and Audioslave, Morello remains one of modern rock’s most influential guitarists, and outspoken activists.

Having just wrapped another run with Bruce Springsteen and the E Street band on the “Land of Hope and Dreams American Tour”, as well as a blistering stop at this past weekend’s Newport Folk Festival, Morello will be performing at Louder Than Life in Louisville, KY on September 19th. In addition, Morello recently announced Power To The People Festival — a celebration of peace, justice, solidarity, music, and community action — taking place Saturday, October 3rd at Merriweather Post Pavilion in Columbia, MD. The sold-out one-day festival curated by Morello, will feature special performances from an extraordinary lineup of artists and activists including Dave Matthews, Foo Fighters, Bruce Springsteen, Joan Baez, Public Enemy, Killer Mike, Brittany Howard, Dropkick Murphys, Jack Black (featuring Roman Morello, Revel Ian, Yoyoka Soma and Hugo Weiss), Serj Tankian, grandson, The Neighborhood Kids, Taylor Momsen, Matt Cameron, The Linda Lindas, Darryl “DMC” McDaniels, and a DJ set by artist Shepard Fairey.

TOM MORELLO TOUR DATES

9/18/26 - Cannery Hall - Nashville TN

9/19/26 - Louisville, KY - Louder Than Life 2026

9/20/26 - The Rave/Eagles Club - Milwaukee, WI

10/3/26 - Power to the People 2026 - Washington, DC

3/2/27 - The Esplanade - Medicine Hat, AB, Canada

3/3/27 - Jeanne & Peter Lougheed Performing Arts Centre - Camrose, AB, Canada

3/5/27 - Vic Juba Community Theatre - Lloydminster, AB, Canada

3/6/27 - Dow Centennial Centre Shell Theatre - Fort Saskatchewan AB, Canada

3/8/27 - E.A. Rawlinson Center For The Arts - Prince Albert, SK, Canada

When I was 15, I played my first “paying” gig. The event was a pool party at NAS Oceana in Virginia Beach, hosted by a classmate from school. We had a three-piece band, and we were paid $100. We had to rent a PA, which was $70. We equally divided up that last 30 bucks and smiled, as we could finally say we were getting a return on all the time and expense we put into our craft. Who am I kidding? At 15, $10 was like a pan of gold. I did feel a sense of real accomplishment, though, knowing I could make (some) money playing music.

I’ve been very lucky to have some great mentors. I was advised on many aspects of my musical journey, except for one thing: money. It seems that salaries and pay scales in the music world are akin to CIA secrets, known to only a privileged few. There is a delicate balance between the gig vs. the paycheck, and sadly, as musicians, I feel we routinely fall short in sticking up for ourselves.

Why is that? Why do we feel we can’t ask for what we need? We worry we’ll lose the gig, and we see a small fee as better than no fee at all. Then the cycle starts.

Before we start to break that cycle, let’s talk about reality vs. expectations. I understand there’s a wide range in pay and types of gigs, so let’s grab some basics. The local “bar” gig pay hasn’t changed in 50 years. One-hundred dollars per player has been some kind of standard for half a century, and bar owners are still hanging on to it. (Can we see this go up, please?) Some gigs, of course, pay more—and a lot pay less.

For these gigs (and any gigs), you must ask yourself what your goals are. Are you trying to make this a regular gig? Are you here for networking? Are you doing it for the love of the game? Once you figure these things out, you can set your personal goals and manage your expectations.

Now, the reality. Money in our business is difficult to gauge. We think we have a pretty good paycheck, then we hear of another band with less audience draw being paid more. The same happens on artist gigs. Every artist is different, but knowing the playing field is a great way to level it. Bar owners, managers, and promoters won’t just throw money at you because you have great hair. You have to ask for that raise, and have good data to back up that ask. And remember, you always have the option to leave if the situation doesn’t work for you.

“Management, venues, and artists are in business to make money. So are you.”

Let’s say you want to take the show on the road. What does that pay really look like? Again, this is that CIA-level anomaly with a wide variation of pay. Here in Nashville, expect different compensation levels when you tour, and decide what you’re comfortable accepting. A new artist can earn from $150-$300 a show, and a more established one can start at $300 and go up from there. Legacy acts can push to $600-$800 or more. It all depends on the number and size of the shows, as well as travel day pay, per diem, and hotel accommodations.

Something to remember is that you are not the artist. You’re a hired gun and paid to do your job. There will be financial disconnect, which for some is difficult—especially if the artist is making $2 million gross a night and the player $1,500 (these numbers are from a true story). Again, your name is not on the marquee, so manage your expectations and proceed.

Even though Nashville is the country music “hub,” a lot of people that tour in the rock world live here as well. Some have said they won’t go back to playing country music again, simply because of the general approach and difference in pay. Again, that all depends on the artist or act. I’ve heard of “legacy” rock acts paying below country new artist wages. Remember, the grass is always greener, but it’s just as hard to mow.

Management, venues, and artists are in business to make money. So are you. Remember that. I’m not trying to scare you away from being a musician; there are entities out there that will treat you fairly and pay you well. If you have a proven track record and real experience under your belt, you’re worth more than you think. You just have to remember that nobody loves you like you. Stand up for yourself.

S.I.T. Strings (Stay In Tune) has updated its flagship Power Wound Nickel Electric Guitar Strings with enhanced product protection, premium new packaging, and new Gold, Black, and Silver color-coded ball ends.

The company’s strings were first introduced in 1980, and the new redesign across the entire Power Wound family features a premium black carton, a sealed Vapor Corrosion Inhibitor (VCI) bag to help protect strings during storage and shipping.

Every set continues to be manufactured in Akron, Ohio, using premium American materials and S.I.T.'s proprietary Stay-In-Tune™ process, which reinforces the ball-end twist to help deliver the dependable tuning stability Power Wound is known for.

The Power Wound series features a hex-shaped, high-carbon steel core and precision-wound nickel-plated steel wrap wire, designed to deliver a bright, balanced tone with clear highs, tight lows, and smooth mids.

The updated Power Wound electric guitar line is available in a wide range of string gauges and custom sets, well-suited for almost any musical style including rock, metal, blues, jazz, and country.

Street pricing starts at $8.99 for 6-string sets. For more information visit https://sitstrings.com/product/power-wound-nickel-electric-guitar-strings/

If you’ve never played a Beetronics pedal, the company’s extroverted design ethos might seem like a style-before-substance exercise. Nothing could be further from the truth. For starters, Beetronics’ wares are genuinely substantial in terms of quality. The brand is also inventive—and more than a little irreverent at times—when it comes to sonics.

The Seabee Lite (the “lite” most likely refers to its relatively low weight rather than any reduced functionality) is an analog chorus/vibe and occasionally mutant flange-oid modulator. It might not be the company’s most radical offering, and in many respects, it's downright conventional and accessible. But it finds a unique way to walk that path, using an interesting basic chorus voice as a foundation—and in classic Beetronics fashion, offering many enticing ways to mangle it.

Arcade Acumen

While there are more complex modulators out there, the Seabee Lite is nevertheless not for minimalists or the faint of heart. None of the functions here are terribly esoteric. And the three knobs, three toggles, and two footswitches are, by some standards, positively streamlined. But their interactivity, which is a real creative asset here, can mean it’s easy to get a little lost at times.

The pedal’s preset capacity helps address the problem of a porous user memory, to some extent. There are eight factory presets and eight blank ones to make your own, which opens up all kinds of possibilities for texture shifts from song to song. (Presets can also be managed via MIDI.) But the preset functionality can be a minefield of its own if you tend to prioritize other facets of your performance. Because the Seabee Lite’s footswitches are the responsive soft-relay type, their placement makes it easy to accidentally move from live to preset mode. And if you then activate a preset, you’ll need to scroll through all of your presets to get back to live mode. Your results may differ based on your balletic capacity, concentration, and ease with dancing the preset two-step. Me? Well, I messed up a lot.

“Woblee and vibeee modes mixed together might inhabit pedal’s weirdest, most-seasick depths.”

The good news, of course, is that these complexities are the product of cool options. The Seabee Lite expands on a basic chorus’ usual rate-and-depth control set with a feedback control, which is typically seen on a flanger. It lends a given chorus setting a “vowellier,” more wobbly voice. But you can also alter the basic feel of the chorus by switching to flange or wobble mode. In the former, the sinewave that makes up the chorus is more angular and trapezoidal, and extra delay is added. The resulting tones don’t have the jet-phase intensity of a real flanger, but they can still be deeply strange, and some of the most authentically 1980s-style textures live in this hybrid mode. Wobblee utilizes an even greater delay time range—around 25ms—and features a drifting LFO that randomizes the wave peaks within that range, evoking a less-steady-on-your-feet sensation.

The flangee and wobblee voices also sound awesome with the vibee vibrato mode. Flangee can give the vibrato oscillations an almost tremolo-like pulse, which sounds extra cool in stereo. Woblee and vibee modes mixed together might conjure the pedal’s weirdest, most-seasick sounds. In both mode mixes there are lots of subtle shades to use, too.

Chorus Lane

Perhaps because the Seabee Lite’s basic voice has to accommodate so many accents and inflections, that voice is a little more open than some standard-bearing analog choruses. It’s not as syrupy, chewy, or deep as a Blue Hippo or CE-2, but there’s a lot of upside to that. Again, the airier voice allows more room for detail in the pedal’s more intense modulations. But those older analog choruses can be thick and watery to the point of dark, which doesn’t work for every guitar or amplifier voice. If the Seabee Lite’s voice is comparatively thin and toppy, it sure makes a good fit for a burly PAF’s output. And with the high-pass, bandpass, and flat frequency response toggle settings, you can tailor these sounds in even more specific ways.

The Verdict
How you relate to the Seabee Lite’s video-game riot of color and sound will probably depend on how much need for weird there is in your expression. But the Seabee Lite isn’t all bizarro indulgences. The fundamental analog voice is solid and versatile, even if some might find it lacking a touch of body. And while some features can seem clumsy and cluttered, the pedal also inhabits a real sweet spot between a modulator that creates decision fatigue and a 2-knob vintage-style unit. It’s a place you can live creatively without getting too bogged down, and that might be the Seabee Lite’s real magic.

CFG (Cable Free Guitar) has introduced SonikSphere NEO, its second-generation 5.8 GHz wireless system for guitar and bass. It adds important advances, such as under 2.5 ms latency, more than 10 hours of battery life, a -10 dB PAD for hot-output instruments, six color-coded channels, and visual battery bars.

The Gen-2 system operates at 5.8 GHz and is built for players who want to stay out of the heavily used 2.4 GHz space shared by Wi-Fi, Bluetooth, and other everyday devices, NEO keeps the clean 24-bit/48 kHz digital audio approach of the original SonikSphere and updates the parts players deal with in real use: response time, battery headroom, hot-signal control, and stage visibility.

SonikSphere NEO delivers under 2.5 ms latency and more than 10 hours of continuous use per charge. Six color-coded channel banks make channel selection easy to see, while a built-in -10 dB PAD gives active, piezo, and other high-output instruments additional input headroom when their signal is hot enough to cause digital clipping.

The system operates in the 5.8 GHz ISM band and uses frequency-hopping spread spectrum (FHSS). Its specified frequency response is 10 Hz to 22 kHz, with a 110 dB signal-to-noise ratio and up to 100 ft / 30 m of clear line-of-sight range. Up to six NEO pairs can be used at the same time, with each pair assigned to a different color-coded channel.

Both the transmitter and receiver include a visual battery bar and PAD indicator. The transmitter is black and the receiver is silver for faster identification on stage. A 270-degree swivel plug helps the units sit cleanly against a wide range of instrument and amp jack positions. The system is designed for standard 1/4-inch mono instrument-level connections, with the receiver feeding an amp, pedalboard, modeler, or audio interface instrument input.

Key Technical Highlights:

• 5.8 GHz ISM wireless with FHSS
• 24-bit / 48 kHz digital audio, 10 Hz to 22 kHz frequency responseUnder 2.5 ms latency and more than 10 hours of continuous battery life
• Built-in -10 dB PAD for active, piezo, and other high-output instruments
• 6 color-coded channels, up to 6 NEO pairs at the same time
• Visual battery bars for monitoring power

Each SonikSphere NEO system includes one transmitter, one receiver, a USB-A to dual USB-C charging cable, and an owner’s manual. SonikSphere NEO includes CFG’s 2-year warranty. Street price in August 2026 is an introductory price of $139.99, compared with the regular $170 price. For more information visit https://www.cablefreeguitar.com/products/soniksphere-neo.

PRS Guitars today announced the Astryx Limited Edition, a Custom 24 turned signature model for Dany Villarreal, guitarist and lead vocalist in The Warning. The Astryx Limited Edition is her twist on a Custom 24, with a custom color fade, custom fretboard inlay (featuring paua, gold, and mother of pearl), her signature on the truss rod cover, and every guitar comes with an autographed backplate. The model will be limited to just 200 guitars in 2026. This is Villarreal’s first ever signature model.

“One of the most important things for me in a guitar is that it feels like an extension of my body and that I can trust it and just do my thing. Ever since I tried my first PRS guitar, it’s been an inseparable relationship. With PRS, I feel powerful and confident — and that’s a feeling that once you find, you don’t want to let go of,” said Dany Villarreal.

This guitar is an ode to Villarreal’s rise as a player and her journey toward finding her identity. The model name, Astryx, stems from the root word for “star,” alluding to divine guidance and a connection to something greater than ourselves. Visually, the guitar is personalized with a unique inlay featuring a sun on the twelfth fret, along with a striking new finish. Continuing the celestial theme while honoring her Mexican heritage, the inlay name – Solecito – translates to “little sun.” The finish, a beautiful fade of purple, pink, orange, and yellow, is named Ocaso, fittingly meaning “sunset.”

The core specifications stay true to the Custom 24: maple top, mahogany back, 24-fret, 25” scale length Pattern Thin neck, PRS Patented Gen III Tremolo, and a pair of DMO humbuckers with one notable difference being the ebony fretboard.

“It has such a beautiful sustain, which I really like,” continued Villarreal. “The neck also feels so comfortable, and it’s not that heavy. As the only guitar player in the band, I love how my PRS takes up a lot of space sonically. It does wonders for our three-piece band.”

The announcement aligns with The Warning’s new album “Everything’s Falling” out on August 28, and global headlining tour.

For all of the latest news, visit www.prsguitars.com and follow @prsguitars on Instagram, TikTok, Facebook, X, and YouTube.

PRS Guitars and Guitar Center today announced that the national retailer is inducting Paul Reed Smith into the Hollywood Rockwalk, the handprint-and-signature tribute outside Guitar Center’s flagship Hollywood store on Sunset Boulevard. This pedestrian path and industry-recognized music landmark is dedicated to honoring the musicians and industry pioneers who have made significant and lasting contributions to the growth and evolution of music, through an exceptional level of talent, outstanding innovation and creative ingenuity.

John Mayer will give the induction speech to honor Smith. The handprint ceremony will take place September 26th at the Dell West Plaza Rockwalk Stage at the Moody Center during the Crossroads Guitar Festival in Austin, Texas. The completed handprint will later be installed at Rockwalk outside Guitar Center’s flagship Hollywood store.

“The first time I saw a Rockwalk induction, Ted McCarty was getting inducted and Eddie Van Halen was one of the people in attendance to witness it. I was very pleased for Ted. That I’ll be in the middle of another induction is an honor and leaves me without words. I look forward to seeing everyone,” said Paul Reed Smith, Managing General Partner of PRS Guitars.

“There are very few people in the history of the electric guitar who have pushed the design and perfection of the instrument forward more than Paul,” said Gabe Dalporto, CEO of Guitar Center. “He has inspired generations of musicians and instrument makers and is a living legend in our industry.”

Since its founding in 1985, Rockwalk has celebrated some of the most recognized names in rock, blues, soul and popular music through signature and handprint ceremonies outside the Guitar Center Hollywood. More than 150 artists and innovators have been inducted, including gear pioneers Jim Marshall, Robert Moog and Les Paul, as well as music icons including Eric Clapton, John Lennon, Stevie Wonder, Aerosmith, Janis Joplin, Jimi Hendrix, Alanis Morissette, Black Sabbath, The Ramones, Elvis Presley and Johnny Cash. Located at the entrance of Guitar Center’s flagship Hollywood store on Sunset Boulevard, Rockwalk is a permanent public destination where fans and musicians connect with music history year-round.

For all of the latest news, visit www.prsguitars.com and follow @prsguitars on Instagram, TikTok, Facebook, X, and YouTube.

Reader: Verne Andru

Hometown: Vancouver, British Columbia

Guitar: Mini Jaguar tuned in 5ths

I fell down the alt-tuning rabbit-hole by moving from guitar to mandolin, before landing on extended-range tenor guitar. I wanted a nice electric for that purpose, so I approached the Fender Custom Shop through my dealer for a 5-string Jaguar tenor but was told they couldn't do it. I let the idea slide. But then Fender released their Squier Mini Jazzmaster with a 22.75" scale. I realized it would be the perfect platform for tenor tuning—in 5ths—but across six strings. Making it more Jaguar-like would be up to me and Vancouver luthier Paul Iverson.

I found a used Mini Jazzmaster at Guitar Center, but the action was terrible and the fret ends needed attention. I pulled the neck to level the frets and was puzzled by the fret wire. It didn’t feel like the soft nickel I’m used to finding on inexpensive guitars, and it wasn’t stainless, either—but it still fought me. After leveling, I recrowned the frets, dressed the sharp ends, and polished them with 800- and 1,500-grit sandpaper. I’ve never gotten a fret job right on the first pass, but I can usually get it where I want over time as I get used to the feel of the instrument

While the bridge is nothing fancy, it was high quality and the saddles allow a wide range of adjustments. The bigger surprise was the pickups, which sounded great. Even so, I thought GFS’ lipstick humbuckers would be a better fit, and I love the simplicity of lipstick designs in general. With the style of a 1964 Jaguar in mind, I used a tortoise pickguard, but also painted a matching headstock, over which I laid a Jaguar decal. Cutting the pickguard for the Jaguar control plates took some time, but with the cuts made and the Jaguar plates in hand, I got to work on the switching.

I learned electronics from Gar Gillies of Garnet amp fame, so I was comfortable trying a few things. Each pickup’s coils can now run in series, in parallel, or as a single-coil, and a push/push volume knob puts the two pickups in series or parallel with each other. There’s also a zero-load switch that bypasses the volume and tone controls, a blend knob for the two pickups, and a phase switch where a Jaguar’s “bass strangle” switch would go.

The project came out well, and the guitar has become a reliable daily player. I added Wilkinson tuners with a 19:1 ratio for finer tuning. Their long posts have two string holes, and I use the upper one on the Bb so the string doesn’t kink over the nut and throw off the intonation. The lipstick humbuckers sound great, and the guitar is light and easy to play. Tuned in fifths—Bb–F–C–G–D–A—it covers an enormous range. The low string sits a semitone below the low B on a 7-string, and the top string climbs into mandolin territory. Best of all, the switching options give me that many more ways to work with that range. It’s a small guitar, but it does a lot.

Following the success of the original Friedman JOSE 100, Dave Friedman has introduced the JOSE 20 Series. Available as both a compact head and a 1x12 combo, the JOSE 20 Series delivers the unmistakable voice, feel, and touch response of its 100-watt counterpart - now in a smaller watt format ideal for play at home, in the studio or on stage.

Developed by Dave Friedman in close collaboration with Jose Arredondo’s daughter, Marisol Arredondo, the JOSE 20 Series faithfully translates one of the most influential amplifier voices in rock history into a modern production amplifier. Rather than simply recreating Jose Arredondo’s amplifier modifications, Dave set out to capture the essence of Jose’s work - its feel, dynamics, harmonic complexity, and voice and faithfully translate it into the JOSE 20 Series.

Handcrafted in Los Angeles using premium components and custom-made transformers, every JOSE 20 is built to Dave Friedman’s uncompromising standards.

Jose Arredondo’s groundbreaking amplifier modifications helped define the sound of high-gain rock. His hot-rodded British amplifiers delivered greater sustain, richer harmonics, tighter low end, and a more responsive feel than players had ever experienced. They weren’t production amplifiers - they were individually modified instruments that became the secret weapon of countless professional guitarists and inspired generations of players, builders, and tone chasers.

The JOSE 20 Series distills that voice into a compact 20-watt platform. Internally bridged Volume I and Volume II recreate the classic channel-jumping technique players once achieved with patch cables, blending bright attack with warm body to create the rich harmonic foundation at the heart of the Jose sound.

The Plexi/Gain switch introduces a true additional gain stage, seamlessly moving from classic Plexi response into the aggressive saturation that defined Jose’s most celebrated modifications. The Fat switch adds body, low-end authority, and increased punch while preserving the articulation and clarity that make the amp exceptionally responsive.

The unique three-position Gain Style switch further expands the JOSE 20’s tonal palette by repositioning the master volume within the circuit while introducing diode clipping for additional bite and sustain. Rather than simply adding more gain, each position reshapes the amplifier’s response, delivering everything from articulate hot-rodded Plexi crunch to crushing rhythm tones and fluid, harmonically rich lead sounds.

A transparent series effects loop and System Master Volume allow players to experience authentic Jose dynamics at virtually any playing level.

Available as either a 20-watt head or a 1x12 combo loaded with a Celestion G12M-65 Creamback, selected by Dave Friedman for its warm midrange, smooth top end, and dynamic response.

Key features include:

• Available as a 20-watt all-tube head or 1x12 combo
• 2 x EL84 Power Tubes4 x 12AX7 Preamp Tubes
• Combo loaded with a Celestion G12M-65 Creamback speaker
• Developed by Dave Friedman in collaboration with Marisol Arredondo
• Inspired by the legendary amplifier modifications of Jose Arredondo
• Internally bridged Volume I & II recreate classic channel jumping
• Plexi/Gain switch introduces a true additional gain stage
• Fat switch adds body, punch, and low-end authority
• Three-position Gain Style switch revoices the circuit for three distinct Jose-inspired gain structures
• System Master VolumeTransparent series effects loop
• Custom made transformers
• Handcrafted in Los Angeles, California, with Limited 5-Year Warranty
• Head Dimensions: 8.5" (D) x 18" (W) x 8.25" (H)
• Head Weight: 22.5 lbs.
• Combo Dimensions: 11.5" (D) x 18.75" (W) x 16.75" (H)

Friedman’s JOSE 20 amp head carries a $1799.99 street price and the 1x12 combo is street priced at $2099.99. For more information visit friedmanamplification.com.

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Guitar Center today unveiled the 2026 Exclusive Crossroads Guitar Collection (https://t.e2ma.net/click/l4543m/hda7hd/92s4tv), a lineup of signature guitars and accessories created in collaboration with Eric Clapton and industry-leading brands Martin, Fender and Ernie Ball. Launching ahead of the 2026 Crossroads Guitar Festival, the limited-edition collection builds on more than two decades of collaboration between Guitar Center, Clapton and the Crossroads organization. Proceeds from the collection support Crossroads Centre Antigua, the addiction treatment center Clapton founded in 1998.

Guitar Center’s relationship with Eric Clapton began in 2004, when the company purchased several of his most legendary guitars at the 2004 Crossroads Guitar Auction, including his iconic Blackie Fender Stratocaster, the Cream-era Gibson ES-335 and George Harrison’s Martin 00-21. Those historic instruments are now part of Guitar Center’s renowned Legends Collection, a one-of-a-kind archive of historically significant instruments on display at its flagship Hollywood store. Their acquisition laid the foundation for an enduring collaboration with Clapton and many of the world’s most respected guitar manufacturers, resulting in some of Guitar Center’s most coveted artist recreations and exclusive Crossroads Guitar Collections.

“For more than two decades, we’ve partnered with Eric Clapton and the Crossroads organization to create iconic instruments, with powerful stories behind them, and put them in musicians’ hands,” said Gabe Dalporto, CEO of Guitar Center. “The 2026 Crossroads Guitar Collection continues that tradition, with every one sold supporting a cause Eric has championed for decades.”

Guitar Center’s exclusive Eric Clapton collaborations have long been among the company’s most sought-after releases. The recreation of Eric Clapton’s legendary Blackie Stratocaster sold out in just four hours in 2006, becoming the company’s fastest-selling guitar launch at the time. More recently, Guitar Center’s exclusive Gibson Custom Eric Clapton 1958 Les Paul sold out in less than 12 hours following its 2025 debut. Since then, Guitar Center has continued its decades-long partnership with Eric Clapton through a series of exclusive Crossroads Guitar Collections, offering musicians first access to many of the collaboration’s most coveted releases.

Spanning handcrafted acoustic guitars, faithful recreations of Clapton’s most iconic electric instruments, and premium accessories, the 2026 Crossroads Guitar Collection offers something for every type of player – from exquisitely crafted collector pieces to signature models designed for everyday musicians. Developed in collaboration with Martin, Fender and Ernie Ball, each product celebrates a defining chapter of Clapton’s career while supporting the mission of Crossroads Centre Antigua.

“Music has always been my most reliable source of inspiration, or salvation,” said Eric Clapton. “These guitars are sacred things to me.”

As the exclusive retail partner of the 2026 Crossroads Guitar Festival, Guitar Center returns to support the event and its mission to benefit Crossroads Centre Antigua. This year, Guitar Center will bring its presence to life through The Guitar Center Experience, an immersive destination at Austin’s Moody Center where fans can explore the new 2026 Crossroads Guitar Collection, connect with leading guitar brands including Fender, Gibson, Martin, PRS and Ernie Ball, and engage in hands-on interactive experiences throughout the weekend. Guitar Center will also offer on-site retail, giving attendees access to the exclusive 2026 Crossroads Guitar Collection and other festival merchandise.

In addition, PRS Guitars will support the 2026 Crossroads Guitar Collection in partnership with John Mayer, whose limited-edition PRS Silver Sky “Crossroads” model will be available exclusively through Guitar Center and make its first public appearance onstage with Mayer at the 2026 Crossroads Guitar Festival.

Complementing the new Crossroads Guitar Collection, The Guitar Center Experience will also feature a rare showcase of iconic guitars from Guitar Center’s renowned Legends Collection, including Eric Clapton’s legendary original Blackie Stratocaster and his Cream-era Gibson ES-335.

Fans will have a rare opportunity to view two of the most iconic guitars in rock history up close, while Guitar Center continues its legacy of honoring music’s most influential figures by inducting Paul Reed Smith, founder of PRS Guitars, into the famed Guitar Center Rockwalk during the festival.

Crossroads Guitar Collection Highlights

Martin Custom Shop 000-42 Eric Clapton Brazilian ($24,999.99)

The centerpiece of the 2026 Crossroads Guitar Collection, the Martin Custom Shop 000-42 Eric Clapton Brazilian represents the pinnacle of Eric Clapton’s more than 30-year relationship with Martin Guitar. Limited to just five instruments worldwide, the guitar is handcrafted with rare Brazilian rosewood back and sides, a solid Adirondack spruce top and Clapton’s preferred 000 body shape – the same style made famous during his legendary MTV Unplugged performance. Each guitar is personally hand-signed by Clapton and includes a Certificate of Authenticity, making it one of the most exclusive Eric Clapton signature guitars ever offered by Guitar Center.

Martin Custom Shop 000-42 Eric Clapton Ziricote (Natural & Sunburst) (starting at $9,699.99)

Joining the collection’s flagship Brazilian rosewood model, the Martin Custom Shop 000-42 Eric Clapton Ziricote pairs Clapton’s preferred 000 body shape with ziricote tonewood, prized for its rich sound and striking natural grain. Limited to just 50 guitars in each of two finishes, 1935 Sunburst and Clear Natural, the handcrafted Custom Shop model features a solid Adirondack spruce top, Golden Era 42-style appointments and an ebony fingerboard with an “Eric Clapton” signature inlay. Each guitar includes a printed Certificate of Authenticity and is available exclusively through Guitar Center.

Fender Blind Faith Telecaster ($4,999.99)

Inspired by the iconic guitar Eric Clapton assembled on his kitchen table in 1969 and debuted at Blind Faith’s legendary Hyde Park concert, the Fender Eric Clapton Blind Faith Telecaster faithfully recreates one of the most recognizable instruments of his career. Limited to just 130 guitars worldwide, the production model combines a Telecaster Custom body with a replica 1956 “Brownie” Stratocaster neck and period-correct details, while including both modern electronics and a vintage “Woof Tone” wiring kit for players seeking an authentic recreation. Available exclusively through Guitar Center, each guitar features a unique “EPC” serial number honoring Eric Patrick Clapton.

PRS John Mayer Silver Sky ($3,750.00)

Developed in partnership with John Mayer, the limited-edition PRS Silver Sky “Crossroads” features a unique Incline Blue finish, rosewood fretboard with a custom “Crossroads Sun” inlay at the 12th fret and a “Crossroads Guitar Festival 2026” neck plate. Limited to just 70 guitars, the model will make its first public appearance onstage with John Mayer at the 2026 Crossroads Guitar Festival.

Martin 000-13E Eric Clapton (Natural & Sunburst) (starting at $1,899.99)

Designed to bring an authentic Eric Clapton signature Martin to more players, the Martin 000-13E delivers Clapton’s signature acoustic style at the most accessible price point in the collaboration’s history. Inspired by the smaller-bodied 000 guitars Clapton has favored on stage and in the studio for decades, it features a spruce top with ziricote fine veneer back and sides, along with a built-in soundhole tuner and Martin E1 pickup—the first time those features have been offered together on an Eric Clapton signature Martin. Available in Antique Toner Natural and 1935 Sunburst finishes, the guitar is available exclusively through Guitar Center in the U.S. through Jan. 27, 2027.

Ernie Ball Eric Clapton Strings ($29.99)

Celebrating nearly 50 years of Eric Clapton’s relationship with Ernie Ball, the Ernie Ball Eric Clapton Signature Strings mark the first-ever signature string set created in collaboration with the legendary guitarist. Packaged in a collectible commemorative tin containing three sets of Ernie Ball Slinky 10–46 strings—the gauge Clapton has relied on throughout much of his career—the limited-edition release gives players the opportunity to experience the feel and tone trusted by one of music’s most celebrated guitarists. Limited to 5,000 collectible tin sets and available exclusively through Guitar Center, the strings complete the 2026 Crossroads Guitar Collection.

The 2026 Crossroads Guitar Collection will be available beginning August 26 at Guitar Center stores nationwide and online at guitarcenter.com and will also be available for purchase at The Guitar Center Experience during the 2026 Crossroads Guitar Festival.

“It’s a Gibson SG, mint condish.”

Jack Black, as Dewey Finn, in the film School of Rock is the ultimate guitar salesman. Watch the scene where he puts the class band together, and you’ll pick up on his awesome energy. Dewey is so into what he’s teaching; he’s like some sort of a sanctified backwoods preacher on a sunny Sunday morning delivering the gospel. It’s his enthusiasm that sparks the kids into learning how to rock. What is Dewey’s Excalibur, his all-conquering and mighty weapon? It’s that Gibson SG guitar.

The way I see it, the guitar in cinema can be considered a ticket. In most cases, it’s a ticket to a better life for the person playing it. Be it creative expression, a way to escape poverty, or a way to escape the humdrum existence of the suburbs à la Marty McFly, the guitar, and music, can take you there.

Today, we’re going to look at the good, the bad, and the unexpected as far as vintage guitars are concerned in movies. Length constraints for this article dictate that I might miss your favorite guitar movie, and I apologize for that. I’ll talk about a couple of mine and maybe one you’re not familiar with.

First, the not-so-good. The Buddy Holly Story was released in 1978. It’s an excellent story about Buddy’s life, and Gary Busey is absolutely incredible portraying the young singer, songwriter, and guitar slinger from Lubbock, Texas. But man, for a guitar geek, it’s a little hard to watch. It’s like the people in the props department for that film didn’t do their homework at all.

In the beginning of this film, we see our hero playing at a roller rink in Lubbock, just before he finds fame as a recording artist. It’s a sock-hop and the kids are there to have some fun. It’s an infectious scene with great energy. What’s Buddy playing? A Fender Bronco.

Cue the record scratch: a Bronco? Wow, that’s an inspired choice! It’s also a guitar that didn’t make the Fender lineup for a full eight years after Buddy, Ritchie Valens, the Big Bopper, and their pilot died in a plane crash early in the morning of February 3, 1959 in Clear Lake, Iowa. It’s a cringe moment for guitar aficionados and historians alike.

Not only is Holly playing a guitar that didn’t exist in the ’50s, he’s playing it through an amp made by a company that didn’t exist yet either. In the roller-rink scene, Buddy’s plugged into a Music Man amp. Music Man started production in 1974, a full 15 years after Buddy died. At the end of the movie, they show Holly playing his final show with a ’70s Strat with a large headstock. At least they got the Strat part right. It’s like they didn’t even try with the details!

Don’t get me wrong—I love this film. The story is told in a compelling way, and it gets me every time. I just wish they would’ve paid even a small amount of attention to the musical instruments in the film.

That was the bad; now for the good. La Bamba is my go-to Hollywood film for accuracy in the guitar department—ironically, a story concerning another man killed in the same plane crash, Ritchie Valens. Lou Diamond Phillips plays Ritchie, and does so with aplomb. Every character, every scene, in La Bamba is done with a level of care and attention to detail that seldom come together in a music biopic.

All the musical details in the movie are just about perfect. When pre-fame Ritchie shows up to audition for the Silhouettes, what does he have in tow? A seriously beat-up, single-pickup Harmony Stratotone, and a well-trashed Fender tweed Champ. This was probably the default setup for just about every fledgling rock ’n’ roll hero of the era. Nailed it! Later on in the film, after Ritchie has scored some chart success, we see him out driving around with his girlfriend, Donna. What’s in the back seat of Ritchie’s T’bird? It’s a tweed hardcase, with his Stratocaster inside. It’s a tiny detail, but those details make for a great film.

Later, when they show Ritchie playing on American Bandstand, he’s playing what looks like a lightly used ash-bodied Strat, which he probably picked up for $100 or less at a local pawn shop. Ash Strats were made from ’54 to ’56, so it would’ve been a little early for Ritchie to buy one new. At the end of the film, during his last show, he’s portrayed with yet another Strat. It’s a brand new, shiny, alder-bodied Strat. Ritchie likely received this one at the factory in Fullerton, right before he left for his first big tour in 1959. There’s some serious attention to detail in this film. If you haven’t watched it, do yourself a favor and look it up.

And now for the unexpected: Bell, Book and Candle. Made in 1958, it’s a wonderful rom-com about a witch who wants to experience love. (The film’s also the basis for the iconic TV series, Bewitched.) There’s some serious star power here, with Kim Novak as the witch, James Stewart as the love interest, and Jack Lemon as the troublesome little brother. Bell, Book and Candle has a couple of guitar sightings that will totally blow your mind. I don’t want to spoil them here—you just gotta watch it.

Until next time, happy viewing, and as they say in Tinseltown: Cut! That’s a wrap.

DOD announces the release of the DRAG™ Analog Delay, a new effects pedal that reimagines what analog delay can do through aggressive time-warping control, expanded modulation, and performance-driven features. Available now worldwide through local retailers and online, the DRAG combines classic analog BBD delay with new patent-pending functionality designed to push delay effects well beyond traditional boundaries.

Built around an all-analog bucket brigade design, the DRAG delivers up to 750 milliseconds of delay time, extendable to 1.5 seconds via its Rubbernecking™ function. From tight slapback echoes to drifting, modulated repeats and controllable runaway oscillation, the pedal is designed to move fluidly between familiar delay sounds and more unpredictable, expressive territory. Four standard delay controls: Time, Feedback, Level, and Filter, with two performance controls unique to the DRAG: Drift™, and Friction™, provide detailed command over delay response, tone shaping, and modulation behavior.

At the center of the DRAG experience are its time-warping features, including Rubberneck, SlideStop™, and Evade™ Friction categories. Engaged via the footswitch and Friction control, these functions allow players to manipulate delay time and pitch in real time. SlideStop™ can bring the delay signal to a complete stop before ramping it back up, while Evade introduces alternate motion behaviors such as HopStop™ and Slide-n-Go™. Rubbernecking adds octave-up and octave-down pitch shifting tied directly to delay time changes, opening further performance possibilities.

Modulation capabilities are equally deep, with four selectable waveforms: sine, reverse saw, square, and random. Plus, three intensity ranges: light, medium, and heavy. The Drift control adjusts modulation depth and speed, while the Curve™ control shapes how that modulation behaves, allowing users to dial in anything from subtle movement to more extreme, shifting textures.

The multi-function footswitch expands control beyond simple on/off operation, A short press engages or bypasses the pedal according to the selected bypass mode. Holding the footswitch activates the Friction feature, allowing expressive real-time control over SlideStop, RubberNeck, and Evade features. The two controls next to the footswitch are Drift and Friction change The DRIFT settings. The button in the middle of the pedal allows you to select between multiple bypass modes including True Bypass, and buffered options with delay tails. For extended control, a 3.5mm input supports connection to an optional FS3X footswitch, enabling tap tempo, oscillation hold, and modulation toggling.

Housed in an aluminum chassis with a top-jack design, the DRAG also introduces a patent-pending reversible StagePlate™. This two-sided plate allows players to switch between a Tire Tread Skid Pad for added stability and a hook surface for secure pedalboard mounting.

The DRAG runs on a standard 9V DC power supply, measures 4.8” x 2.8” x 1.5”, and weighs 0.67 lbs., making it a compact yet feature-rich addition to any setup.

For more information on the DRAG Analog Delay, visit www.digitech.com.

Street Price: $219.99 USD

Today, the genre-defying instrumental rock innovators Polyphia announce their fifth full-length studio album BE NOT AFRAID out October 23rd with Rise Records.

With the news, the band also released their new single off the record “POWER IN THE BLOOD” with an accompanying music video you can watch HERE . Filmed in Rio de Janeiro, Brazil, this video finds the band playing against the ornate, gold-leaf Baroque backdrops from the São Francisco da Penitência Church. The powerful visual lays the foundation for what’s to come off the new record, directed by Caleb Young.

Throughout 2024 and 2025, Polyphia worked together in various locations in Miami, Los Angeles and Dallas alongside co-producer RJ Pasin and guitar phenom Spiro Dussias. Guitarist Tim Henson took a different approach to composition, initially singing lines aloud and then translating them onto guitar, creating a process that encouraged the entire band to build on each other’s ideas in real time. More than anything, the sessions were defined by how much fun they were having creating music together. By the time the album was finished, they had reached a point where they could let go of any expectations about what would happen next and simply enjoy what they had created together.

“Instead of going wide on BE NOT AFRAID, we went as deep as we could,” Henson shares. “There are so many layers to pull back. Every time you listen to it, you’ll notice something new. Thematically, it’s by far the most meaningful record we’ve ever made.”

"We physically can't make the same album twice," adds guitarist Scott LePage. "We have a yearning to evolve. It was so much fun to write this one together too – the writing sessions for past Polyphia records typically looked like us gathering our ideas separately first and bringing them to each other second, so we took a different approach with BE NOT AFRAID by treating the sessions like an opportunity to create with everybody in the room first before getting into the separate writing. It was a much more communal approach that led to us having so much fun making it that the fun itself was the magic being captured."

The collective thread together a three-dimensional offering of otherworldly metal, future-facing prog, and pulsating house sealed tightly with carefully curated samples, inventive beat-craft, and the guitar eloquence that Tim and Scott remain renowned for. This time around, the instrumental push-and-pull invokes the polarity of the ultimate extremes: good and evil.

When speaking on the album Henson adds, “The album takes you through the extremes of two different worlds / moods: one being very uplifting and triumphant, the other being spine-chilling and terrifying. There are moments on the record that legitimately scare me when I listen to them.”

Earlier this year, Polyphia teased their new chapter with the release of their first single in over four years, “CAN YOU FEEL IT .” Pushing boundaries in ways the band never has before with a hybrid of metal and dance music, their music video showcased an electrifying performance by the band amidst a crowd of fans.

"During the making of this record, we went down some pretty dark rabbit holes. We kept coming across things that were so depraved they sounded insane when you said them out loud. Then some of the very things we had been talking about started appearing in documents released to the public. You can read that stuff and feel disgusted, demoralized, and completely powerless. BE NOT AFRAID is our response to that. Rather than allowing the ugliness of the world to paralyze us, we put everything we had into making something beautiful. We weren’t afraid of whether something was too different or whether people were going to understand it. We just followed what excited us and made what I believe is our best record to date,” Henson explains.

Polyphia refused to compromise on BE NOT AFRAID. Getting the album exactly where they wanted it meant giving it more time and ultimately pushing the North American leg of the 2026 World Tour to early 2027. RJ Pasin will still support every date worldwide. North American shows will feature Ladrones, with select dates including Intervals. Perturbator will join all UK and European dates, which remain unchanged for Nov/Dec 2026.

Tickets purchased for previous tour dates are valid for the newly announced show dates. A full list of show dates can be found below. For more information and to purchase tickets visit Polyphia.com .

North America Tour Dates 2027 w/ Ladrones & RJ Pasin:

* w/ Intervals

# No Ladrones

February 5 - Phoenix, AZ - Arizona Financial Theatre

February 6 - Las Vegas, NV - House of Blues

February 9 - Los Angeles, CA - Hollywood Palladium

February 10 - San Diego, CA – SOMA #

February 11 - Anaheim, CA - House of Blues

February 14 - San Francisco, CA - The Masonic

February 17 - Seattle, WA - Paramount Theatre

February 19 - Salt Lake City, UT - The Depot

February 20 - Denver, CO - The Fillmore Auditorium

February 23 - Minneapolis, MN - Uptown Theater

February 24 - Milwaukee, WI - Landmark Credit Union Live

February 25 - Chicago, IL - Aragon Ballroom

February 26 - Indianapolis, IN - Egyptian Room at Old National Centre

February 27 - Detroit, MI - The Fillmore Detroit

March 2 - Toronto, ON - Great Canadian Toronto *

March 3 - Montreal, QC – L’Olympia *

March 5 - Philadelphia, PA - The Fillmore Philadelphia

March 6 - Brooklyn, NY - Brooklyn Paramount

March 7 - Boston, MA - MGM Music Hall at Fenway

March 9 - Washington, DC - Echostage

March 10- Raleigh, NC - The Ritz

March 12 - Charlotte, NC - The Fillmore Charlotte

March 13- Orlando, FL - Hard Rock Live

March 14 - St. Petersburg, FL - Jannus Live

March 16 - Atlanta, GA - Coca-Cola Roxy

March 17- Birmingham, AL - Avondale Brewing Company

March 18 - Nashville, TN - The Truth

March 20 - Dallas, TX - South Side Ballroom

Europe/UK Tour Dates w/ Perturbator & RJ Pasin:

Nov 18 – Zurich, CH – Halle 622

Nov 19 – Lyon, FR – Le Radiant

Nov 20 – Toulouse, FR – Interference

Nov 22 – Barcelona, ES – Razzmatazz

Nov 23 – Madrid, ES – Sala La Riviera

Nov 25 – Milan, IT – Alcatraz

Nov 27 – Munich, DE – Zenith

Nov 28 – Prague, CZ – SaSaZu

Nov 29 – Warsaw, PL – Progresja

Nov 30 – Leipzig, DE – Haus Auensee

Dec 2 – Hamburg, DE – Docks

Dec 4 – Copenhagen, DK – Amager Bio

Dec 5 – Berlin, DE – Tempodrom

Dec 6 – Oberhausen, DE – Turbinenhalle

Dec 7 – Brussels, BE – Ancienne Belgique

Dec 8 – Amsterdam, NL – AFAS Live

Dec 9 – Paris, FR – Zenith Paris

Dec 11 – Birmingham, UK – 02 Academy Birmingham

Dec 12 – Manchester, UK – Manchester Academy

Dec 15 – Leeds, UK – O2 Academy Leeds

Dec 16 – London, UK – O2 Academy Brixton

Polyphia have always said what they need to say with their instruments. Since their emergence in 2010, the Texas-bred outfit—Tim Henson [guitar], Scott LePage [guitar], Clay Gober [bass], and Clay Aeschliman [drums]—have organically progressed across a series of acclaimed albums, including Muse [2014], Renaissance [2016], New Levels New Devils [2018], and Remember That You Will Die [2022]. The latter bowed at #1 on the Billboard Top Hard Rock Albums Chart and cracked the Top 40 of the Billboard 200. Tallying hundreds of millions of streams, it established the band as rare outliers equally suited to collaborations with either pop singer Sophia Black, multiplatinum rapper SNOT, guitar hero Steve Vai, or iconic Deftones frontman Chino Moreno (on the same body of work). It’s no wonder Guitar World readers unanimously voted it “The Best Guitar Album of 2022.” Beyond headlining sold-out tours, the group incited the applause of Wired, Revolver, and Rolling Stone who described Tim as “reinventing the instrument for more than a decade.” However, the quartet make a particularly provocative and powerful sonic statement on their fifth full-length offering, BE NOT AFRAID [Rise Records]. The collective thread together a three-dimensional tableau of otherworldly metal, future-facing prog, and pulsating house sealed tightly with carefully curated samples, inventive beat-craft, and the guitar eloquence that Tim and Scott remain renowned for. This time around, the instrumental push-and-pull invokes the polarity of the ultimate extremes: good and evil.

Kittie’s 30th-anniversary tour rolled into Nashville’s Brooklyn Bowl, and PG’s Chris Kies caught up with Morgan Lander and Tara McLeod to see what’s left of a rig that once meant hauling an SVT up a flight of stairs. Have a look at some quick highlights below, and tune into the new Rig Rundown for all the details.

Brought to you by D’Addario.

Solar Power

Lander’s main guitar is a Solar Type-V. She’s played the V shape so long that any other body design feels wrong in her hands. Before Solar she was using an old Hamer loaded with EMGs, and further back, a Yamaha Pacifica.

Total Eclipse

McLeod’s ESP E-II Eclipse has Fishman pickups and an EverTune bridge, though the EverTune stays “disengaged” live—Kittie’s sets run song to song with no room for guitar changes, so she needs to tune fast. She moved to active pickups during the “Kittie 2.0” era, wanting more bite than her passive Les Paul gave her.

Drop and Give Me C

Kittie has used one tuning since 1996: drop C, low to high C–G–C–F–A–D. Both players stick to D’Addario strings: Lander runs .011–.056, while McLeod uses .011–.052 on the Eclipse, with a .056 on the bottom for the Gibson Les Paul goldtop shown here.

Morgan Lander’s Pedalboard

Years of fly dates pushed the band to shrink everything down to what fits in an overhead bin. Lander’s Line 6 HX Stomp does the work of the old rig: a 5150 model for the main rhythm and lead tone, a Tube Screamer in front for a boost, and a channel with a low octave she calls “the scaries,” saved for accents and the extended parts where she steps away from the mic. A Shure GLXD16+ digital wireless system handles her signal and her tuning, and a Radial ProDI passive direct box rounds out the board.

Tara McLeod’s Pedalboard

McLeod ran a Neural DSP Quad Cortex for years, but a hiccup mid-tour had her switch over to the same HX Stomp Lander uses, which made it easy to copy her settings and tweak from there. She employs the same 5150 and Tube Screamer models, plus a third channel built around an OCD model with a delay after it for a smoother lead tone. She runs the same Shure GLXD16+ and Radial ProDI as Lander.

Fender Musical Instruments Corporation (FMIC) has introduced the Jackson Pro Plus Series Signature Sleep Token IV Monarkh SC and Charvel Sleep Token III Signature Pro-Mod San Dimas® Bass V, marking the first-ever signature collaboration with globally acclaimed phenomenon Sleep Token. These models are built to the exact specifications of Sleep Token’s guitarist and bassist, capturing their genre-defying and mystifying sound.

With an unmistakable identity, a rapidly growing global following and platinum hits like “The Summoning,” Sleep Token fuses djent-weighted riffs, cinematic pop atmospheres and haunting R&B textures into a sound that feels both intimate and colossal. Drawn to that same boundary-pushing spirit, Jackson and Charvel capture it in two new signature models developed in close partnership with the band.

“Sleep Token’s sonic and visual identity is so distinctive, and the Jackson and Charvel signature models are a huge part of shaping that sound,” said Justin Norvell, Chief Product Officer, Fender Guitars. “These instruments let players tap directly into that tone: the Jackson features a whole-octave-down tuning paired with an EverTune 6 bridge for rock-solid stability in that low register, while the Charvel is a five-string bass built with custom Fishman pickups for added clarity and punch in the mix. We’re always looking for artists who redefine what a signature instrument can be, and Sleep Token does exactly that.”

Watch IV and III bring “Vore” to life in instrumental form, armed with their signature Jackson and Charvel.

IV is Sleep Token’s lead guitarist and backing vocalist, and his riffs form the backbone of the band’s sound. Every detail of this instrument’s design reflects his playing style, with IV personally selecting each feature to create a guitar built for reliability night after night on stage: the Pro Plus Series Signature Sleep Token IV Monarkh SC.

Jackson Pro Plus Series Signature Sleep Token IV Monarkh SC (MSRP: $2,199.99 USD, £1,949 GBP, €2,299 EUR, $4,499 AUD, ¥396,000 JPY) Built for IV’s signature whole-octave-down tuning, the Monarkh features a commanding 30” scale length and precision-engineered EverTune® 6 bridge with custom saddles that deliver clarity and tuning stability in the lowest registers. The bound mahogany body with striking quilt maple veneer and three-piece caramelized maple set-neck construction creates the perfect foundation for IV’s expansive tonal palette, while the compound radius pale moon ebony fingerboard with 22 stainless steel frets provides effortless playability from crushing low-end riffs to devastating chord progressions. Direct-mount Fishman® Fluence® Open Core Classic humbuckers capture every nuance—from crystalline clean tones that pierce the darkness to saturated leads that cut through the heaviest mix, translating pure emotion into sonic impact with exceptional clarity in the extended low range. Complete with pearloid teardrop inlays, Luminlay® side dots, matching headstock and foam core case, the Monarkh makes an unmistakable impact.

III is the heartbeat of Sleep Token’s sound. Visually, his masked mystique and kinetic stage presence amplify the band’s ritualistic aesthetic. Sonically, his bass is the glue between thunderous heaviness and atmospheric lift.

Charvel Sleep Token III Signature Pro-Mod San Dimas® Bass V (MSRP: $1,599.99 USD, £1,399 GBP, €1,649 EUR, $2,699 AUD, ¥258,500 JPY) His weapon of choice is a five-string Charvel® San Dimas bass featuring a resonant poplar body. The caramelized maple neck and fingerboard feature a progressive 12”-16” compound radius with jumbo frets for effortless playability, while Luminlay® side- dots ensure perfect navigation in Sleep Token’s signature darkened stage environments. The 34.4” to 35.5” multi-scale fanned fret design optimizes string tension across all five strings, delivering enhanced intonation and that percussive attack that defines III’s playing style and custom red Fishman® Fluence soap bar pickups with three distinct voicings accessible via a three-way mini toggle—from crystalline clarity to growling aggression. The onboard Fishman® 2-band EQ provides surgical control over bass and treble frequencies, while the blend knob allows seamless pickup mixing for infinite tonal possibilities. Hipshot® Ultra Lite open gear tuners guarantee rock-solid tuning stability, locking strap pins secure the instrument during III’s kinetic performances and the reverse licensed Stratocaster® headstock complements the band’s mysterious aesthetic.

For technical specs, additional information on new Charvel products and to find a retail partner near you, visit www.charvel.com. Join the conversation on social media by following @CharvelGuitars on X and @CharvelUSA on Instagram and Facebook.

A big-budget Hollywood biopic of pedal-maker Jack DeVille would open in the eye of a furious winter storm—or, more specifically, The Great "Snowpocalypse" that rocked Portland with a record-breaking blizzard back in 2008. Our protagonist, a sharp and scrappy auto mechanic, has been racking up extra hours in the evenings and weekends: working a side gig as a builder with a burgeoning pedal company, taking on freelance gear repairs here and there, experimenting with electronics to learn the core theories that eventually powered his own brand, Mr. Black.

As the snow pours, he takes a crucial step: unveiling his first creation, the Jack DeVille Dark Echo, with all the homespun hustle you can imagine. “I put an ad on Craigslist: ‘Want a delay pedal?’” DeVille tells Premier Guitar. “There wasn’t much [out there] for delay in terms of small-manufacturer ‘boutique’ guitar effects. It’s hard, and that’s probably why. But I thought, If I can make something good, I bet I can sell them. So I did! And a couple people bought ’em.

“It’s gonna sound cheesy and poetic, but this is actually true,” he continues. “On December 23, 2008, I had my ad up, and some guy way down in Southwest Portland was like, ‘I wanna buy this, but I can’t leave my house. You’ll have to deliver it.’ For what it’s worth, there was, like, three feet of snow. But the pedal was $200. I was like, ‘Fuck, dude.’ On Christmas Eve, I actually did ride the bus, spend my $2.25 or whatever, and take a five-hour ride to sell this pedal. But that paid rent.”

Later that night, someone else hit him up: “Hey, I want to buy my husband this guitar pedal.” So DeVille journeyed around a half-mile to a local bar named Dots, where he sold his second Dark Echo.

“That’s when it clicked,” he recalls. “I was like, ‘These cost me $40 to manufacture, but I made $400 this afternoon. If I can do this 10 times per month, I’ll be able to pay my bills.’ Little did I know I was starting a manufacturing company.”

After years of continued grind and word-of-mouth buzz, DeVille is now one of the most respected boutique pedal makers in the business. But there have been no shortcuts—a theme that carries all the way back to his childhood in California.

There were many small but pivotal steps that led DeVille to create Mr. Black. The first was probably falling in love with metal. “I was really into Metallica," he says, highlighting the thrash kings’ 1988 classic, …And Justice for All. “I thought that was the pinnacle of music—until I heard Slayer.”

At age 10, back in his original home town of Berkeley (following his family’s brief stint in Oakland), DeVille started taking guitar lessons—and he says that, by around seventh or eighth grade, he was studying under Doug Doppler, a technically gifted player who expanded his knowledge of theory and the instrument’s “technical side.” By ninth grade, he started his first band—but his attention soon drifted elsewhere. “I didn’t like school or any of that,” he says. “So I quit in the ninth grade. I liked girls and getting high, so that’s what I was doing with my time. But that led to some pretty tumultuous years—got my ass locked up for a while, then got out of that.”

By 17, he was renting a “dumpy little apartment” with some friends, working at a junk shop and playing in a punk band. A few years later, he grabbed a copy of the Berkeley Daily Planet newspaper and spotted an eye-catching job posting for a nearby paint shop: “Mechanic, No Experience Necessary.” As it turned out, he was really good at the job, and next enrolled at a local community college for aviation, aspiring to be a helicopter mechanic.

“If I have a new thing I’m working on, it has to change the way you play and pull something out of you.”

DeVille eventually switched gears again, and found work at an Oakland car shop—that is, until a pivotal 2007 trip to Portland, where his sister was living. His then-girlfriend Nancy was there, too, and she fell for the city. “Two days into the trip, she said, ‘I’m moving here. You can come if you want to.’” The idea seemed to make financial sense—on levels both large and small. During his first trip to Dots, staring down at his massive but affordable plate of fries, he knew the truth: “That was the clincher,” he said. “It was an easy thing to figure out.”

Another easy thing to figure out: focusing on making pedals. In 2008, after those first sales of the Dark Echo, DeVille was working as an amp tech at Eastside Guitar Repair in southeast Portland. “I would also make pedals and sell them out of that place,” he recalls. “People in town knew, ‘If you need a pedal fixed, they’ve got a guy who can do it.’” And he realized he wanted to take his technical knowledge even further. “It only made sense to be like, ‘I know how to repair stuff. I’ll stop working on cars and transition to just doing repair work on amplifiers and guitar pedals and all that,’” he says. “That’s all well and good, but repairs, service work, is kinda shitty. What gets me about that trade and career is that you’re surrounded by broken stuff all the time. Nobody wants to take their car to the shop. Nobody wants to take their amp to the shop.”

That year, he formed Jack DeVille Ltd.—but that venture wound up hitting a dead end. Things changed in early 2012, when he created Mr. Black Pedals as an offshoot product line—and within a few months he had the inspiration for the SuperMoon, which is accurately described on the company’s website as “cavernous, vast, and orbital.” DeVille initially only planned to make 100 pedals, but those sold in five days and demand continued to snowball.

His girlfriend at that time, Victoria, knew he was at a crossroads: “She was like, ‘You’re out of debt. I can’t believe it!’” DeVille says. “She’d met me just before the Mr. Black brand had launched. At that time, I was deep in debt, and there was no one I could turn to. She still liked me. She said, ‘Are you gonna quit? Are you gonna go back to automotive? You hated automotive.’ She only knew me as an amp-repair/pedal person. She said, ‘Don’t do that. Worst-case scenario, if it doesn’t work out, you can always go back to automotive later. Why stop at 100?’ I made another batch of 100, and those sold real fast.”

With its massive, 30-second reverb tails and “dynamic, proprietary Sway modulation,” the SuperMoon became a sleeper favorite, with word spreading organically through forums like Harmony Central and The Gear Page. Even 14 years later, as DeVille’s product line has expanded to 30-plus pedals—from the transparent Deuce Coupe overdrive to the ADT/chorus-like DoubleTracker Stereo—he’s maintained that same workmanlike approach, choosing to let the quality of his builds do the talking for him.

“Little did I know I was starting a manufacturing company.”

“I’m not good at social stuff,” he admits. “I have friends who are like, ‘You should come meet so-and-so.’ That’s not my thing, man. Some people promote their products and brands through others, and I understand that’s a common and effective way people do things. It’s just not how I do it.”

DeVille thinks back to the wisdom of his former car-shop teacher, a Vietnam veteran and helicopter pilot named Paul: "When I knew him, he was in his mid-60s. He was my electrical and drivability instructor when I was in the apprenticeship program, and we became friends. One day around 2005, I stopped by Paul’s shop, and he said, ‘You gotta understand, man. I’m working on the grandchildren’s cars of my first customers.’ Paul’s shop had been there 30 years, in the same fucking building. He said, ‘Listen, Jack, all you’ve gotta do is offer a fair price for a good product, and you’ll never see the end of your business. You’ll never get rich like that, but you’ll always have work.’

“That’s always been my ethos,” DeVille continues. “I could have charged way more for the SuperMoon and all that. But who’s buying these? I don’t want to sell them to, like, blues dads. That’s fine. But I don’t want to limit a guy like myself. It’s nice to get a steak every once in a while, but it’s not steak every day. If I’ve got enough food on my plate, why do I need seconds?”

DeVille clearly isn’t chasing pedal-maker hype—he’s just happy to be creating some cool gear that galvanizes ordinary people to simply pick up the guitar and play. “As far as growth goes, I don’t know,” he says. “Money’s fine. I don’t want a big-ass corporation where I have to go to board meetings. I don’t like having employees. I don’t like having to kiss ass. I’m not good at it, and I have no interest in being good at it. I don’t want to have to go to some show for a band I don’t really like and say, ‘Oh, thanks for playing this product. Here’s a new product!’”

When asked about any famous artists who use Mr. Black pedals, DeVille is charmingly out of the loop. “There’s a country guy—maybe it’s Keith Urban—he has dark hair and stubble. A few years back, someone was like, 'Hey, they’re playing your pedal and gave you a shout-out in their magazine.' I said, ‘This is the first I’ve heard of this.’ I don’t know—I guess he bought it. I didn’t sell it to him, but he must have found it somewhere.” (Urban told Guitarist in 2026, “I use a [Mr. Black] SuperMoon for a couple of songs because it’s such a unique, cool-sounding ’verb.”)

Regardless of who’s playing his pedals, DeVille has some exciting things in the pipeline, including a “really fucking high-performance” product that he’s still tinkering with. “If I have a new thing I’m working on, it has to change the way you play and pull something out of you,” he says. “There are literal boxes full of perfectly good pedals that didn’t make the cut—they’re good, but they didn’t inspire."

The idea is simple: “Whoever inspires you, whatever it may be—maybe it’s Boss, maybe it’s MXR, maybe it’s Strymon, maybe it’s Joe Blow’s Fuzz Shack—buy the one that you like,” DeVille says. “And if at all possible, get the one that’s built by just a guy in his basement. That’s where the big dogs come from. They all start there, and you’re encouraging the next crop.”

He continues. “The expression I know is: ‘The grass is greener where you water it.’ If you want more of whatever it is—say there’s some fuzz pedal you really like, or there’s some boutique guy doing some weird, granular DSP bleep-bloop shit that I don’t understand—buy that one. Go for the one you’re uncertain about, that’s a little risky. Go for the underdog.”

Marking 60 years since Jimi Hendrix first plugged into a Marshall amplifier, Marshall continues its tribute to Jimi Hendrix through an expanded, cosmic-inspired anniversary collection.

This latest unveiling features the Studio Vintage amplifier, along with the Major V headphones and Emberton III Bluetooth speaker, all reimagined in a distinctive new aesthetic.

Leading the pack, the portable JMH Studio Bundle reimagines the design of the iconic Studio Vintage amplifier. Combining premium craftsmanship with a distinctive Hendrix-inspired aesthetic, the amp delivers everything from expressive cleans and deep blues textures to rich, harmonically complex driven tones.

Key specifications:

• 20W tube head with power reduction to 5W
• Two bridgeable channels
• 2 x ECC83 preamp tubes
• 1 x ECC83 phase splitter
• 2 x EL34 power tubes
• Switchable series effects loop
• Speaker outputs for 16Ω, 8Ω and 4Ω loads
• Dimensions: 500mm (W) x 240mm (H) x 230mm (D)

Built by hand at Marshall's factory in Bletchley, UK using quality plywood and wrapped in black Tolex, this stack’s one-of-a-kind anniversary design features black and purple in a psychedelic pattern across the fret and control panel, complemented by a purple LED indicator. Drawing on Hendrix’s distinct personal style and the silver jewelry that became part of his visual identity, intricate silver beading is woven throughout, detailing the knobs, handle, logo, grille, and back panel. The all-seeing eye badge, derived from Hendrix’s fascination with the third eye and expanded vision, sits on the top and bottom of the stack, completing the design.

The anniversary edition Major V on-ear headphones come in a sleek black finish, elevated with psychedelic graphics and subtle Hendrix-inspired details. A striking purple oil-on-water design flows throughout the inner headband and ear cups, finished with the all-seeing eye motif.

Continuing the purple oil-on-water design across the sleeve, and through the grille, the Hendrix 60th Anniversary Edition Emberton III Bluetooth speaker pays homage to Hendrix with the all-seeing eye that appears in silver on the media jog and is accompanied by purple LEDs. The silicone sleeve is hand-dipped using a water transfer print, making each piece entirely unique. With more than a full day of listening on a single charge, there’s plenty of time to play through Hendrix’s extraordinary body of recorded music.

This latest unveiling marks the final release in the Marshall x Hendrix 60th Anniversary Collection. The Major V and Emberton III editions carry street prices of $159.99 and $179.99 respectively. The JMH Studio Edition Bundle carries a street price of $2,499.99. For more information visit marshall.com.

Byron "Mr. TalkBox" Chambers is a Grammy-recognized artist whose talk box talents have lent unmistakable, expressive power to some of the defining gospel, funk, R&B, and pop records of the modern era. When he wanted a device made specifically to elevate his silky smooth, electro grooves, he came to MXR.

We held nothing back building the MXR Mr. TalkBox Signature Talk Box. You get more power, more headroom, more control over your voice, and better articulation of each sound over a low end that stays thick and full. This is a professional-grade talk box tailor-made for keyboardists and guitarists who want to speak through their instrument, straight from the soul.

“I’ve been using a talk box for 27 years,” Byron says. “I wanted to work with MXR because they know how to do portable and powerful at the same time. Whether I’m playing on stage or doing radio shows and podcasts, I want my setup to be quick, easy, and sound great. This talk box gives me all of that.”

MXR Mr. TalkBox Signature Talk Box highlights:

• Collaboration with Grammy-recognized artist Byron “Mr. TalkBox” Chambers
• Lightweight neodymium driver for more low end without weighing you down
• 25W amp for increased headroom and improved dynamic response
• Volume, Tone, and Gain controls allow you to shape your voice
• Gain bypass switch helps keep hot signals under control
• Fit for desktops and pedalboards with an 18V power supply, 8’ tube, and mic stand clip

Availability

The MXR Mr. TalkBox Signature Talk Box is available now at $449.99 street/$642.84 MSRP from your favorite retailer.

Queens of the Stone Age have always remained enduringly, singularly magnetic. It isn't just their sound. It's their spirit. They are provocative in the most essential sense: unafraid to explore the dark, the sexual, the surreal, the absurd. It's art that snarls and seduces in equal measure, and never more so than on the band’s ninth album, Perfecth, due Oct. 30 from Matador Records.

Out today is latest single "Insignificant Other,” which could be considered the album's centerpiece. It's the second of only two takes and captures the quintet playing loose and unguarded and making space for one another on the fly. "It's a song about distance,” says frontman Joshua Homme. “About how someone can be your entire world only to simply vanish. And about the strange vertigo of being on the receiving end of that.”

The album announcement is accompanied by a Chapman Baehler-directed video starring Big Chongus as the embodiment of “perfecth.” Joined by the goodest boys and girls Ruby Homme, Max Homme, Pumpkin Van Leeuwen, Isabella Puppolini (Izzy) Van Leeuwen and Reesa Shuman, watch HERE to find out if Big Chongus finds the perfect home. You can also watch the now infamous Five Finger Filet teaser that announced the date the album would NOT be released HERE .

Produced by Homme and band member Michael Shuman, Perfecth will be available on CD, Standard Black Vinyl everywhere, on Clear Vinyl at Indie Retailers and as a limited Deluxe Edition — a gatefold LP package which includes handwritten lyrics, stationary, ‘stamps’ housed inside a custom envelope as well as a bespoke piece of art temporarily placed in a custom pocket — exclusively on the QOTSA and Matador webstores. Pre-order is available HERE .

Kintsugi — the Japanese art of repairing broken pottery by filling its cracks with gold — holds that what has been shattered is made more beautiful, not less, by the act of repair. This is the spirit in which Perfecth was made. An album that could only have been made right now thanks to Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita, and Jon Theodore taking significant evolutionary steps as a collective and arriving at hard-won clarity, its nine songs map different forms of love: of family, friends, and others both significant and insignificant. The loves that break you beyond survival and the loves that put you back together.

Birthed from sessions tracked everywhere from New Orleans to Los Angeles, the music is fearless and boundless, moody and menacing, gentle and strange. Here, Queens have moved a career's worth of jagged pieces into alignment. "Every song sounds like it's from a different world," says Homme. "And that's on purpose, because it's trying to stitch together all these emotions revolving around love, lust, foolishness, and the sort of wisdom that comes as a gift from all that."

The record is called Perfecth because "perfect," as a word, has never been honest. It doesn't exist. So, Homme broke the word and made it "perfecth," a more appropriate spelling for a term that never felt right to begin with. "Nothing in this world is perfect, but everything seems to be 'perfecth'," he explains. "And that title is funny when you're in a group, but it ain't so funny when you're alone.”

While fans await the new album, they can air their gripes and grievances, moans and groans, chagrin', carpin', and any judgements they wish to pass via the official Queens of the Stone Age Complaint Hotline at +1 (760) 437-1966. Callers may even find a live ear at the other end of the line.

The Complaint Hotline opened following Queens of the Stone Age’s rapturously received new single “Easy Street (feat. Nikki Lane) .” Debuted live last year during their lauded Catacombs tour and eagerly awaited by fans, it was the band’s first new music since 2023’s In Times New Roman…. Homme also released high-profile collaborations with Shania Twain on her new single “'Faded Blue Jeans” and added guest vocals to Mastodon's latest rocker, “Snakes for Dinner.”

Queens of the Stone Age resume their North American stadium tour with Foo Fighters on Sept. 15 and also recently announced a fall headline run in Australia, New Zealand, Japan and Singapore. 2027 headline shows will be announced in the coming weeks. Sign up at qotsa.com to be the first to receive updates.

Queens of the Stone Age on tour:

09/15 - Regina, SK, CA - Mosaic Stadium^

09/17 - Edmonton, AB - Commonwealth Stadium^

09/20 - Vancouver, BC, CA - BC Place^

09/24 - Louisville, KY, US - Bourbon & Beyond Festival

09/26 - Las Vegas, NV, US - Allegiant Stadium^

10/04 - Sacramento, CA, US - Aftershock Festival

10/24 - Reykjavík, IS - Laugardalshöll

11/25 - Tokyo, JP - Zepp Haneda

11/26 - Nagoya, JP - Zepp Nagoya

11/28 - Osaka, JP - Zepp Namba

12/2 - Singapore - Star Theatre

12/8 - Adelaide, AU - The Drive

12/11 - Hobart, AU - My State Bank Arena

12/13 - Melbourne, AU - Rod Laver Arena

12/15 - Sydney, AU - Qudos Bank Arena

12/16 - Newcastle, AU - Newcastle Entertainment Center

12/18 - Brisbane, AU - Brisbane Entertainment Center

12/20 - Auckland, NZ - Spark Arena

^ w/ Foo Fighters

Perfecth tracklisting:

1.It’s Only Love

2.Insignificant Other

3.Where The Goth Girls At?

4.Mono

5.From The Cliff

6.Sunday

7.Easy Street

8.Phantom Limb

9.Run Away From The Mob

The Fender Custom Shop (FCS) today unveils the Limited Edition George Harrison 1967 Bass VI, a meticulous recreation of the legendary instrument that became one of George Harrison's most distinctive creative tools during one of the most influential periods of his career. Crafted in Corona, California, the model faithfully captures the look, feel and character of Harrison's original Bass VI, bringing one of music's most iconic instruments to a new generation of players and collectors.

Acquired by Harrison in 1967, his sunburst Bass VI became an integral part of the sound created at Abbey Road Studios, contributing melodic lines and rich textures across some of the most celebrated recordings in popular music. At a time when The Beatles were redefining what was possible in the studio, the Bass VI became another creative tool that helped expand the band's evolving sound.

Occupying a unique space between guitar and bass, the Bass VI gave Harrison another creative voice in the studio. Its distinctive sound allowed him to achieve melody and depth in ways few instruments could, making it ideal for sonic exploration and helping shape the evolving sound of an era. Today, it remains one of Fender's most versatile and inspiring designs.

Harrison's creative influence extended far beyond The Beatles. As a songwriter, solo artist and collaborator - including his work on All Things Must Pass and with The Traveling Wilburys - he continually pushed creative boundaries and inspired generations of musicians through his fearless approach to musical innovation.

"George Harrison's Bass VI holds a unique place in Fender history. It played a defining role in some of the most influential recordings ever made while showcasing the remarkable versatility of the Bass VI itself," said Chase Paul, Director of Fender Custom Shop. “With this Limited Edition release, our Custom Shop team has faithfully recreated George's original instrument with extraordinary attention to detail, honoring its legacy and giving players and collectors the opportunity to own an extraordinary piece of music history."

The Limited Edition George Harrison 1967 Bass VI faithfully recreates Harrison's original instrument with remarkable authenticity. Every detail was chosen to faithfully recreate Harrison's original instrument - from the Relic® Bleached 3-Color Sunburst finish and handwritten switch plate markings to the Custom Shop Hand-Wound Jaguar® pickups that capture the Bass VI's distinctive voice. Together, these elements deliver the look, feel and sound that made the instrument such an important part of Harrison's creative process.

Key features include:

• Bleached 3-Color Sunburst Relic® lacquer finish modeled after the original
• Custom neck profile matched to Harrison’s personal Bass VI
• Era-correct bound 3A rosewood fingerboard and block inlays
• Three period-correct Custom Shop Hand-Wound Jaguar® pickups
• Etched control plate markings replicated from Harrison's own instrument
• Full technical specifications are listed below

LIMITED EDITION GEORGE HARRISON 1967 BASS VI (MSRP: $9,500.00 USD, £8,599 GBP, €10,099 EUR, $14,999 AUD, ¥1,650,000 JPY) George Harrison’s sunburst Fender® Bass VI became an essential voice at Abbey Road Studios, providing the melodic counterpoints and textural layers that shaped some of the most admired arrangements in popular music. The Fender Custom Shop Limited Edition George Harrison 1967 Bass VI is a painstaking recreation of that instrument, built to the same specifications by the luthiers in Corona, California, and finished with Relic® aging that channels decades of creative life. The two-piece select alder body delivers resonant warmth and balanced midrange, with a thin nitrocellulose lacquer finish.

The Relic® treatment in Bleached 3-Color Sunburst gives this bass the worn-in look and feel of an instrument that has seen years of regular studio and stage use. The neck is shaped to match the profile of Harrison’s Bass VI, featuring a bound 3A rosewood fingerboard and white pearloid block inlays. The 7.25” radius and 21 vintage frets provide the period-correct playing surface that rewards a lighter touch with expressive dynamics, making chord voicings and melodic runs feel effortless across the 30” scale length. This shorter scale produces inherently lower string tension, lending a supple, elastic feel that invites both bass lines and guitar-style phrasing. A bone nut ensures precise intonation and open-string sustain at the headstock end. Loaded with three period-correct Custom Shop Hand-Wound Jaguar® pickups, the Harrison Bass VI captures the full harmonic spectrum of the instrument’s unique register. These pickups deliver articulate highs that cut through a dense mix, a growling midrange with natural compression, and defined low end that anchors without muddiness. Individual on/off slide switches for each pickup let you sculpt your signal path on the fly, from a single pickup’s vocal clarity to the full trio’s orchestral depth. The switch plate replicates the etchings Harrison made on his original to note his preferred settings. Other premium features include a 6-saddle vintage-style adjustable bridge with “floating” tremolo tailpiece and Bass VI mute, 4-ply brown shell pickguard, vintage-style tuning machines with Fender® logo, American Vintage ’59-’64 string tree, nickel/chrome hardware, and Fender® Bass VI stainless steel strings (.025-.095), deluxe hardshell case, strap and certificate of authenticity.