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PRS taps Ed Sheeran for limited-edition “Cosmic Splash” signature model – featuring the superstar’s own artwork on its body
PRS has partnered with Ed Sheeran on a new “Cosmic Splash” Limited Edition signature model, adorned with eye-catching artwork by the singer-songwriter superstar himself.
Featuring the exact design from one of Sheeran’s 2025 Cosmic Carpark paintings – a series of artworks he sold last year to raise money for the Ed Sheeran Foundation – the new “Cosmic Splash” model is a limited SE Hollowbody I Piezo Baritone model, with only 1,000 available worldwide.
In terms of specs, the guitar features a PRS/LR Baggs Piezo system, along with 85/15 “S” pickups, as well as a hollow body with a maple top with a ‘Shallow Violin’ carve and flat mahogany back, and a glued-in Wide Fat mahogany neck, 10”-radius rosewood fingerboard and 27.7” baritone scale length. Elsewhere, the guitar sports an adjustable PRS stop-tail bridge and PRS tuners.
Credit: PRS
But visuals are obviously the key draw of this guitar. In addition to the striking “Cosmic Splash” artwork design, the instrument sports fretboard inlays which are a nod to Sheeran’s Stereo series of albums – Play, Pause, Rewind, Fast-Forward and Stop – the first of which landed last year (2025). The guitar also dons a Play icon on its truss rod cover.
“I started painting as a way to stay creative when I am off the road,” says Sheeran. “I often say ‘keep the faucet running’ when it comes to songwriting – it’s so important to stay in a creative headspace to get to the really good stuff. My hope is that people find this instrument as inspiring as I do. To have my artwork on it as well is such a treat.”
Credit: PRS
While this isn’t the first collaboration between Ed Sheeran and PRS – they worked together last year on a one-off SE Hollowbody Baritone for the music video for Drive, from the F1: The Movie soundtrack – it is the first PRS x Ed Sheeran model to be available for purchase by the public.
The Limited Edition Ed Sheeran “Cosmic Splash” model is available now, priced at £1,599/$1,599. Each guitar also comes with an 8” x 8” print of the same Cosmic Carpark painting on the guitar’s body, also hand-signed by Ed Sheeran.
Learn more at PRS.
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“A bold evolution of Valvetronix”: VOX pairs new amp modelling technology with the “authentic feel of classic tubes” in the new VT20X and VT40X
VOX is marking the 25th anniversary of its Valvetronix series with the launch of two new hybrid guitar amplifiers: the VT20X and VT40X.
Described as a “bold evolution of the Valvetronix concept”, the new models are aimed at players who want the “authentic feel of classic tube amps” and the flexibility of modern digital modelling.
- READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet
At the core of both amps is a redesigned hybrid architecture that pairs new modelling technology with a multi-stage tube preamp circuit. According to VOX, its new modelling algorithm goes beyond static tonal snapshots, instead recreating the analogue circuitry of some of the world’s most coveted tube amps at a “circuit level”.
This deep level of modelling allows players to adjust gain structure, switch between Class A and Class AB operation, and fine-tune amplifier bias in real time – resulting in more nuanced tonal shifts and a more realistic response under the fingers.
A 12AX7 tube is integrated further into the signal path than in previous Valvetronix generations, contributing warmth, natural compression, and that elusive “edge of breakup” sensitivity that responds directly to player touch and guitar volume. VOX says the result is smoother clean-to-crunch transitions and overdrive tones with the sag, bloom, and bite typically associated with vintage tube amplifiers.
Beyond amp modelling, the VT20X and VT40X include a selection of built-in effects inspired by classic stompboxes, allowing players to build complete rigs without relying on external pedals. Both amps are housed in sealed cabinets featuring VOX’s bass-reflex design, intended to deliver fuller low-end response and better projection despite their compact size.
As you’d expect, the amps are well equipped for modern use. Both feature USB connectivity, a built-in tuner, AUX input, and a headphone output for silent practice. The VT20X delivers 20 watts through an 8-inch speaker, while the VT40X ups the power to 40 watts and a 10-inch speaker for additional headroom. Both are finished in the series’ Classic Blue livery, complete with a split-front design and blue grille cloth as a nod to VOX heritage.
“With deeper tube integration, refined circuit-based modeling, expressive tonal flexibility, and practical player-focused features, the new VT20X and VT40X reimagine the hybrid amp experience for a new generation while staying true to the musical feel that made Valvetronix a favorite among guitarists worldwide,” says Vox.
The VT20X and VT40X are available now, priced at $279.79 and $399.99 respectively.
Learn more at VOX amps.
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Unprocessed’s Manuel Gardner Fernandes names the viral shredders you need to watch in 2026
“People always like to compare,” Manuel Gardner Fernandes says with an exasperated tone. “I can’t help but wonder if people will think that this record is better than the last one.”
The frontman of German tech-metal favourites Unprocessed insists that isn’t why the band’s new album is presented in a polar-opposite way to the previous one, but it’s clearly something that’s on his mind. The new album is called Angel and comes packaged with a lush blue cover. Put that side-by-side with the last one, …And Everything in Between, and it’s pretty stark. It had a fiery red cover. There was also a song on it called Hell. That’s pretty night-and-day, lads.
That sense of difference extends to the music. …And Everything in Between was hyper-aggressive and riff-based, whereas Fernandes says the new stuff is “song-based”. But, beyond that, Unprocessed are still Unprocessed. They’re still the same mind-bogglingly talented firebrands who’ve racked up millions of social media hits, almost definitely made you feel insecure about your guitar playing at least once, and long since figured their way around a snacky chorus.
“This album isn’t something that turned out super different [to the previous one],” says Fernandes over video call. “…And Everything in Between was, like, very evil. Just, evil packed into nine short songs. This one, it’s a little bit more of a journey. It has a lot of variety and there are more breaks.”
Image: Press
Angel is a smooth-as-silk convergence of tech-metal, prog and R&B. Opener 111 may kick off with a thudding riff and a cathartic scream from Fernandes, but it soon expands into a sensitive, silken chorus, laced with synth. On Beyond’s Heaven Gate, the band kick off with a Polyphia-like prog jam. ‘Far away, far away – we leave only angel dust,’ their singer/guitarist gently croons during the chorus. ‘Far away, far away – we can try, heal your wounds.’ That sense of Unprocessed exploring diversity even extends to the guest stars: Marc “Zelli” Zellweger of deathcore up-and-comers Paleface Swiss snarls his lungs out for Solara, whereas Jason Aalon Butler of Letlive and Fever 333 brings a confrontational rap to Head in the Clouds.
“I still haven’t met Jason personally,” Fernandes admits. “We just know each other online. He actually wanted to do something for …And Everything in Between, but, because of time, he couldn’t do it. I uploaded a clip to Instagram: this heavy, emotional, eight-string riff. He was like, ‘Wow, this is super sick! Let’s do something with it.’ He shared my vision for the whole song.”
In an interview earlier this year, Unprocessed’s drummer, Leon Pfeifer, called Angel a natural “next step” after …And Everything in Between. However, Fernandes disagrees.
Unprocessed and Zelli. Image: Press
“…And Everything in Between had this more shocking factor,” he explains. “We introduced a very thrash metal thing with a song like Thrash, and it had this very viral moment. I was not trying to do something completely different or mind-blowing on this record. My focus on this record was just having nice songs.”
The frontman reveals that that ferocity was inspired by anger over a record label deal gone sour. …And Everything in Between was Unprocessed’s first self-released effort, its 2022 predecessor Gold having come out via Spinefarm.
“Gold took us three years to release,” he explains, “but not because we weren’t ready. And as we got rid of our connection with the label, I just immediately hit my studio and was writing. It turned out to be super heavy.”
Outside of Unprocessed, Fernandes is a social media superstar. In 2019 and 2020, the player gained widespread attention through Instagram, with footage of him playing his instrument at seemingly inhuman speeds going viral. However, it seemed that for every floored fan Fernandes picked up using social media, there was another person insisting that he was faking his chops (he wasn’t). Even though they had no evidence to support their claims apart from the camera-phone footage being a bit fuzzy, they made their protestations very, very public.
Manuel Gardner Fernandes (right) and Zelli (left). Image: Press
“I had a journey with social media,” Fernandes reflects, “and it was kind of compressed into one year of ups and downs. I was just uploading my clips and they were skyrocketing all over social media. But, after that, immediately, I was caught in the middle of a shit storm. After that whole controversy, I was like, ‘Do I even want to be that bedroom guitarist, that social media guitarist? Or, do I want to step back and get my band to where I was as an individual guitar player?’”
In 2023, Fernandes admitted to Guitar that he was scared of being “cancelled” due to all the controversy. As a result, even though he has 311,000 Instagram followers right now, he barely posts videos of himself playing guitar at home anymore. Combine that with the fact that Unprocessed spent plenty of time on the road between …And Everything in Between and Angel, playing shows with the likes of Tesseract and the Callous Daoboys, and it’s clear which route he ended up taking. It makes sense when he explains that he always wanted to be a player in a band anyway.
Fernandes first picked up a guitar when he was three years old. His granddad had been a touring guitarist and, at the time, his dad was a bassist in a thrash band. “He introduced me to Metallica and Iron Maiden,” he remembers. “I’ve been a metal fan since I was born, basically.”
When he was a teenager, he also fell in love with dark electronic music, and he lists Massive Attack and Depeche Mode among his favourite bands of all time. That combo of influences – lightspeed, intricate metal alongside dark, synthy atmospherics – is extremely tangible throughout Angel, with the song Your Dress casting throbbing bass against industrial beats. He started playing in bands at school, and he formed Unprocessed aged 16 with co-guitarist Christoph Schultz, after they both auditioned for a spot in a cover band.
In 2025, that childhood project has flourished into an independent business, putting out albums and touring all over the world. However, Fernandes still finds the same joy in creation and production that has always been there. He also clearly relishes the kind of collaboration that only a band can give, as opposed to being a social media player out there by himself.
“My favourite thing to do still is sitting in my studio and producing music,” he says. “That joy hasn’t changed since the beginning of Unprocessed. The feeling of me bouncing a version of a song to the boys, or showing it to friends and family, that really gives me joy.”
Fernandes may not be hugely active on social media anymore, but he’s still plugged in to what’s going on there, especially what new guitarists are blowing up. So, when we asked him to name the viral players blowing his mind right now, he quickly rattled off a list of names. These are the online virtuosos you should be watching in 2026:
Ando San
“I’ve never seen a guy rapping and thumping at the same time! It’s super sick.”
RJ Pasin
“He’s done incredible things with guitar production. The majority of guitarists probably wouldn’t call him a guitarist in the first place. You can argue he is or not, but this guy is doing something fresh in the music scene. His style is all about production. He’s more a producer than a guitarist, in a way. He’s still doing all these sounds with the guitar that make it special.”
Spiro Dussias
“I don’t know what he’s doing! I don’t know how he is doing that! I came across him on Instagram.”
Ichika Nito
“In the beginning, what made him stand out for me was his melodies. His compositions, I felt that they were almost soundtrack-ish, and I wanted to do that as well. I just love the classy DI sound with a lot of reverb on it.”
Tim Henson, Polyphia
“When Polyphia first came up, I can’t remember the name of the first video I saw, but there was more solo shredding [in their music] back then. Since then, I’ve always checked out what Polyphia are doing. Tim started following me on Instagram, and the first stuff that we did together was the In The Cut video that Tim uploaded to his channel. After that, we did our song Real together with him and [Polyphia bassist] Clay Gober. After that, we went on several world tours and did Die on the Cross of the Martyr, which is probably the biggest thing we’ve done together.”
Marcin
“In 2019, 2020, something like that, he wrote me a message saying, ‘Oh, my hands glitch too [referring to Fernandes’ “sped-up footage” controversy].’ [laughs] Since then, we started doing videos. The stuff that’s super fascinating about him is just his way of using his instruments as a percussive element, which I love. He sounds the same live as he does in his clips, and I love that, as well. He has millions of followers, but he’s also pulling a lot of people live, which is really nice to see. He transferred it the right way, to the live audience.”
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Roland adds three more treasured Boss pedals to its Effects Pedals plugin
Roland has added a further three pedals to its Boss Effects Pedals plugin – the software library available exclusively through the Roland Cloud.
Roland had slowly been releasing more digital versions of Boss’ range of treasured pedals over 2025, with eight arriving back in May last year. The library is now home to a total of 19 of the most well-loved Boss pedals, including the latest three additions – the DM-2, the OD-2, and the DC-2.
The Boss Effects Pedals plugin brings its compact pedal experience to the world of computer music production, delivering “premium processing” for guitar, bass, keyboards, vocals, and more. And this isn’t the end of it, as Roland has confirmed that this core library will continue to be populated with an ever-expanding selection of models derived from historic Boss hardware.
This trio of new additions brings longtime favourites to the range – the DM-2 was the first Boss analogue delay in the compact pedal lineup, and its retro BBD circuit produces delays that become more saturated with each repeat.
The OD-2 TURBO OverDrive is now onboard, offering two distinctly different overdrive sounds. Its standard mode produces a mild, well-defined overdrive, but switching on Turbo mode will crank things up by activating an independent drive circuit with higher gain and increased presence for heavy riffs and solos.
Completing the flurry of new arrivals is the DC-2 Dimension C pedal, which according to Roland itself, was born by adapting the rack-based Roland SDD-320 Dimension D into a condensed pedal for guitars and other mono instruments. It’s capable of adding depth and spaciousness like a chorus pedal, but its Dimension effect produces minimal modulation to create 3D character while preserving natural tone.
The Boss Effects Pedals plugin is available with a Roland Cloud Ultimate membership, which users can try for free with a 30-day all-access trial. Find out more via Roland.
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NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet
The NAMM Show 2026 is one of the hottest events in the music industry calendar, as thousands of brands descend upon the Anaheim Convention Center in California to showcase their latest products and innovations. And the big week has finally arrived…
The Guitar.com team is pleased to report that we’ve traded the grey skies of England for the warm Anaheim sun, as we head to NAMM to cover all the biggest guitar gear launches and announcements you need to know about.
The show floor officially opened on Tuesday, 20 January, and we’ll be here until Saturday when doors close trying to visit as many booths and nerd out on as much new gear as humanly possible. While also keeping you in the loop, of course…
And with that, we welcome you warmly to the official Guitar.com Live Blog, which will be updated regularly over the coming days with all the latest news from NAMM 2026 as it happens. Let’s go.
[live_timeline tag=”namm-2026″ first=”15″]
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This headless Space G6TR from Cort launched ahead of NAMM has got the prog lovers on the Guitar.com team salivating
Cort Guitars has released a new headless model, the Space G6TR, which it created with playability and tonal flexibility in mind.
The new model is lightweight, offers “confident tuning control”, and unlike the majority of headless guitars, its electronics are centred around a HSS configuration designed for a wider range of playing styles.
Headless guitars are a prominent focus of attention right now, with Ibanez unveiling its brand-new headless Alpha series earlier this month. Cort’s Space G6TR joins a number of other headless models in its catalogue, but is catered for more ease of use and versatility.
It has an okoume body topped with a flamed maple veneer, and has a bolt-on, five-piece roasted maple and walnut neck paired with an ergonomic Ergo V neck profile, measuring 21 mm at the first fret and 23 mm at the twelfth fret.
A 25.5-inch scale length offers familiar tension and response, while its roasted maple fingerboard with a 12–15.75-inch compound radius supports fast playing. The guitar also hosts a PPS nut measuring 42 mm (1 21/32”) in width, a matte neck finish, and is available in Semi-Gloss Lava and Semi-Gloss Lagoon finishes.
The Cort Voiced Tone VTS63 and VTH77 pickup set works with a five-way selector for switching between smooth cleans and powerful leads. Helping to keep things single is also a single volume and single tone layout, and its headless tuning hardware and custom headless tremolo system help to retain tuning stability under aggressive playing, so you can bend and dive as you please.
The Space G6TR is available now for $879.99 USD. You can find out more by stopping by at NAMM Booth #6810, or visiting Cort Guitars online.
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Struggling to nail Metallica’s punishing riffing? Don’t worry, even James Hetfield admits he finds it tricky at times
If you’ve ever found yourself frustrated when trying to learn a Metallica riff, don’t beat yourself up. James Hetfield has shared that there are two of their own songs he still gets nervous to play, and that each member has their own list of songs they find most tricky.
Metallica are often honest about not always getting things perfect, especially when they’re out playing live and juggling differing setlists. Their colossal M72 world tour, which will resume in May this year, often sees them play two nights with two individual set lists in each city they attend.
Hetfield tells The Metallica Report (via Ultimate Guitar), “We all have our own certain songs that are a little difficult. Moth Into Flame, Master of Puppets, those are two that are, ‘Wow, those are a little difficult.’ I’m sure Lars [Ulrich, drummer] has his list; we all have our list. But we push through, and we help each other with it,” he explains.
On a previous appearance on the same podcast, Hetfield was also open and honest about how they accept and handle any mistakes they make while on the road. “It’s not a mistake, really,” he said. “That word is kind of ridiculous. It’s just a unique way of playing it that night. Everyone gets to enjoy whatever happens right then.
“Frankly, I think it’s a challenge when a song falls apart. It could be devastating to other bands, for us it’s just, ‘Okay, we fucked up! Let’s start it again! Let’s take it from here!’”
Mistakes or no mistakes, even Dave Mustaine, who famously has a fraught relationship with the band, has complimented Hetfield on his playing a number of times over recent years. As a final hurrah before they retire this year, Megadeth released their own cover of Metallica’s Ride The Lightning, and upon confirming the track, Mustaine said he wanted to do it out of respect.
In an interview with Rolling Stone, he called Hetfield a “fucking powerhouse” and said he’d “always respected him” as a player: “I wanted to do something to close the circle on my career right now, since it started off with [Mustaine’s band before Metallica] Panic and several of the songs that ended up in the Metallica repertoire, I wanted to do something that I felt would be a good song,” he said.
To find out where you can catch Metallica on tour, head to their official website.
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Bourgeois Guitars’ limited-edition Luke Bryan signature line is made with Black Walnut hand-selected from his own farm
Bourgeois Guitars has teamed up with country artist Luke Bryan to release two new limited-edition models, including an ultra-limited version made with Black Walnut selected from Bryan’s own farm land.
There are just 30 Luke Bryan Signature Limited Edition models available worldwide, and just 100 of the more affordable (but still high-end) Luke Bryan Touchstone Edition – this version is inspired directly by the Lewiston-built original and is crafted with specially selected tonewoods.
The origins of this collaboration goes back quite a while ago, as Bryan reached out to Dana Bourgeois (the founder and master luthier behind the guitar brand) more than a decade ago. You may be wondering what took them so long to get to this point, but the long process was intentional.
Credit: Bourgeois Guitars
The journey of making this model was a long labour of love. Work began when Bryan invited Bourgeois to his Tennessee property, Flint Rock Farm, where a ridge above the land is lined with mature Eastern Black Walnut. The pair started tagging trees across the ridge, and later selected choice boards at the sawmill where Bryan’s timber was being processed. Those boards were then cured in Bourgeois’ workshop for a whole decade.
All 30 of the Luke Bryan Signature Limited Edition models have been numbered and signed by Bryan himself. This guitar is a short-scale Slope Shoulder Dreadnought handcrafted by Bourgeois in Lewiston, Maine. Each guitar is a one-of-a-kind, and is of course, built from the specially selected Eastern Black Walnut harvested from the farm all those years ago.
Credit: Bourgeois Guitars
A torrefied Maine Adirondack spruce top complements the walnut back and sides, and the fingerboard features a custom mother-of-pearl antler inlay. A matching Flint Rock Farm emblem is featured on the headstock, in honour of the early origins of this collaboration.
The Luke Bryan Signature Limited Edition model is available now for $8,999, with the Luke Bryan Touchstone Edition coming in at $3,879. Find out more over at Bourgeois Guitars.
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“Designed to go hard”: Orange unveils new vintage-inspired single-channel OR60 amp head
Orange Amps has unveiled a new vintage-inspired single channel amp head, hailed as the “most versatile” it has ever built.
The OR60 is a UK-built, all-valve 60 watt guitar amp head that is voiced to “take boosts beautifully” and is “designed to go hard”, according to Orange itself. Made with premium components, it’s driven by a pair of 6L6 power valves providing headroom and depth. It’s available to pre-order now directly from Orange, with shipping due to commence in spring.
Earning this amp Orange’s ‘most versatile’ status is its ability to tweak its controls and sculpt your own tone for whatever genre you’re looking to tackle. Firstly, the head offers a second footswitchable volume control that provides solo cut-through or rhythm / lead switching without touching the gain, leaving the core tone consistent. A switchable 460V / 335V (60W / 30W) output also allows you to push the amp harder at lower volumes.
Further controls for Presence and Resonance offer customisable fine tuning, allowing players to shape the high and low-end power amp stage to suit any cab or room. There’s also a three position Bright switch, allowing you to sculpt the amp’s top-end voicing without affecting the overall gain character. When engaged, it lifts the treble response to deliver extra clarity and presence. When switched off, the tone becomes warmer and rounder.
Orange Amps’ OR30 amp head was included in our round up of the best tube amps last year, and was specifically selected as our top choice for the loudest tube head. Guitar.com’s Josh Gardner did the testing for this amp and said it “nearly shook my windows out of their frames” – don’t be fooled by its 30 watt power rating.
The Orange OR60 amp head is available to pre-order now for £2,099.00. Find out more over at Orange Amps.
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Squier Sonic and Mini models get a 2026 refresh – bringing you new colours, new configurations, at the same beginner-friendly prices
Squier has announced a broad refresh of its Sonic Series for 2026, doubling down on what the lines does best: accessible, no-nonsense Fender designs at beginner-friendly prices – and with a few new colourways and configurations thrown in for good measure.
Alongside updates to its full-size Sonic guitars and basses, the brand is also expanding its range of compact instruments with refreshed Mini Stratocaster and Mini Precision Bass models.
The Mini Stratocaster and Mini Precision Bass return with the same formula that’s made them popular entry-level choices: lightweight bodies, maple necks with comfortable “C” profiles, and straightforward hardware.
Credit: Fender
Firstly, the Mini Strat keeps things classic with three single-coil pickups, five-way switching, and a hardtail bridge. 2026 brings new colour options, including California Blue and Sea Foam Green with maple fingerboards, alongside crowd-pleasers like Black, Shell Pink, and Torino Red with laurel ‘boards.
The Mini Precision Bass scales the full-size P Bass down to a 28.6” short scale, pairing a single Squier split-coil pickup with simple volume and tone controls. New for this year is a 2-Colour Sunburst with laurel fingerboard, joining Black and Dakota Red. Prices remain very reasonable, with the Mini Strat at $199.99/£179.99 and the Mini P Bass at $209.99/£189.99.
Elsewhere, the Sonic Series continues to expand into a broad family of Fender silhouettes, all sharing slim “C”-shaped maple necks and lightweight poplar bodies.
The Sonic Stratocaster is offered in several configurations: the classic SSS with tremolo, the hardtail Strat HT for extra tuning stability, and HSS or single-humbucker HT H models for more bridge output. Fresh finishes like Sea Foam Green with maple fingerboard and white pickguard bring a modern twist to the familiar Strat formula. At $249.99/£189.99 across the range, the value is hard to beat.
Credit: Fender
Similarly, the Sonic Telecaster sticks to Leo Fender’s original recipe – featuring dual single-coils, a six-saddle hardtail bridge, and that unmistakable slab-body feel – while adding new colour options like Canary Yellow to the mix. Meanwhile, the Sonic Esquire H pares things back to a single bridge humbucker, offering a minimalist take on Fender’s earliest solid-body guitar in finishes such as Olive, Ultraviolet, and Arctic White.
Offset fans aren’t left out either. The Sonic Mustang returns with its compact 24” scale length, available with dual single-coils or a pair of humbuckers (HH) for players who want more punch. Finish options include Daphne Blue, 2-Colour Sunburst, Torino Red and Flash Pink, while the HH version comes in Black, California Blue, and Flash Pink.
Credit: Fender
On the bass side, the Sonic Precision Bass keeps the classic P Bass layout: a single split-coil pickup, four-saddle hardtail bridge, volume and tone controls, and a 34” scale. Priced at $269.99/£209.99, the bass is available in Black, 2-Colour Sunburst, California Blue and the new Midnight Blue.
Rounding out the 2026 updates is the Sonic Bronco Bass ($259.99/£209.99), a short-scale (30”) option that sits neatly between the Mini P Bass and full-size Precision. Lightweight, simple, and now available in Daphne Blue, it’s an ideal choice for beginners or players moving up from mini instruments.
The instruments will be available from July. View the full collection at Fender.
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“Ed was very much a purist”: Why Eddie Van Halen didn’t re-do technical mistakes on Eruption
In the age of AI and overproduction, leaving a few mistakes in your music is becoming a sign of rebellion that declares a real human was behind its creation. Eddie Van Halen was doing it long ago, even when others around him suggested he should fix any blips.
Van Halen drummer (and Eddie’s brother) Alex has been looking back on how the guitar prodigy would ask for his errors to be left as they were, even when the band were working on their mega-hit Eruption. At the time, engineer Donn Landee wanted Eddie to re-do some of his guitar parts — a suggestion he refused.
In an interview with Modern Drummer Official, Alex explains [via Ultimate Guitar], “There are times when we cringe. We go, ‘Man, we could have fixed that.’ And we should have fixed it. But Ed was very much a purist, if you will.
“Like on Eruption, he made a couple technical mistakes, and Donn wanted to fix it. And Ed goes ‘No, no, leave it,’ which I thought was brilliant, because you never relived that moment. And there were other moments on those records.”
And it seems Eddie wasn’t the only one who was happy to leave a few mishaps in their music: “I’m gonna quote something from Dave [David Lee Roth], which is he called it a ‘wabi sabi’ or something,” Alex continues. “It means the imperfections are what make it what it is. And so we left all the imperfections on the records.”
Eddie might be best known for his soloing, having paved the way for tap and shred culture, but his son Wolfgang Van Halen thinks there are other aspects to his father’s musicianship that were often overlooked.
During an appearance on The Cody Tucker Show, Wolfgang said: “I think everybody looks at him as Mr. Tap and he’s Mr. Shred, but I think that’s just like a flavour to what he did.
“I think it’s the fact that he was such a good songwriter and rhythm guitar player which allowed him to be the shredder guy on top of it. ‘Cause there are plenty of people who are just great shredders and they’re just running through scales and stuff, and that’s not as interesting.”
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Joe Duplantier’s first ESP signature guitar, the JD-1, makes it debut ahead of NAMM 2026
ESP has unveiled Joe Duplantier’s first signature guitar, more than a year after announcing the Gojira frontman as a signature artist.
Dubbed the JD-1, the single-pickup LTD offset follows the mysterious custom guitar Duplantier wielded during the band’s performance at the Paris 2024 Olympics Opening Ceremony. The model also marks the guitarist’s first official signature release with ESP, following years as a Charvel signature artist.
Described as a “uniquely modified take on the offset XJ shape”, the JD-1 is built with speed, comfort and precision firmly in mind.
It features a mahogany body paired with a thin U-shaped three-piece roasted maple neck, topped with a Macassar ebony fingerboard with pearloid block inlays and 22 extra-jumbo stainless steel frets. The offset body boasts deeply ergonomic contours, reinforced by bolt-on construction at a 25.5” scale for a clean, unobtrusive heel and a lightning-quick response.
Credit: ESP
Electronics are noticeably stripped back as well. The guitar is powered by a single DiMarzio JD Fortitude passive humbucker (Duplantier’s signature pickup) and is equipped with a Hipshot Tone-a-Matic bridge and tailpiece, a GraphTech TUSQ nut, and LTD locking tuners.
The JD-1’s minimalistic layout extends to its controls, which are kept minimal with just a single volume knob.
Visually, the JD-1 makes a strong statement with its aggressive all-black hardware and scratchplate, coupled with a head-turning Silver Sunburst finish. Each guitar also ships with a deluxe ESP hardshell case.
The ESP LTD JD-1 will be available later this year, priced at $1,799.
Learn more at ESP Guitars.
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“Our most ergonomic body shape to date”: Eastman unveils the FullerTone Offset, its most player-centric electric yet
Eastman has expanded its FullerTone electric guitar lineup with the launch of the new FullerTone Offset, a solid-body model designed with playability, comfort and modern ergonomics in mind.
The new model completes the FullerTone family alongside the existing Single Cut and Double Cut, bringing all three of master luthier Otto D’Ambrosio’s signature body shapes into one unified series.
Positioned as Eastman’s most player-centric electric to date, the FullerTone Offset pairs a newly developed offset body with updated hardware, electronics and the company’s proprietary two-bolt neck system – giving it a “player-first design with just the right amount of edge”.
The Offset’s sleek, curvaceous silhouette is also described as the most ergonomic body shape Eastman has produced to date. Developed in close collaboration with guitarist and YouTuber Paul Davids, the design draws directly from real-world playing experience, prioritising balance, comfort and extended playability. Sleek, sculpted contours and a beveled back allow the guitar to sit naturally against the body whether standing or seated, helping to reduce fatigue during longer sessions.
Credit: Eastman
“It was a sheer pleasure working with Paul Davids to gain his player’s perspective on the Offset,” says Eastman’s Director of Fretted Instruments, Pepijn ’t Hart. “While every player has different preferences, his insights and direction helped us create our most ergonomic body shape to date.”
As with the DC and SC models, the Offset features Eastman’s proprietary two-bolt neck design. The long-tenon construction increases neck-to-body contact to enhance resonance and sustain, while allowing precise adjustment. A smooth, unobstructed heel further improves upper-fret access, contributing to a stable and responsive playing feel.
Spec-wise, the FullerTone Offset sports a roasted black limba body, a roasted maple neck and a rosewood fingerboard, alongside a 12” fingerboard radius, 25.5” scale length and a silver anodised aluminium pickguard.
Electronics come courtesy of Tonerider soapbar-sized humbuckers with goldfoil covers, chosen for their warmth, clarity and articulate response, while a Göldo DG tremolo handles vibrato duties, promising smooth operation and stable tuning. Controls include a three-way selector switch.
Credit: Eastman
The FullerTone Offset is available in Dakota Red and Gold finishes. “Our goal was simple: shoot for the stars and build a guitar too good to be true, too good to be put down,” says Eastman.
Priced at $999, the FullerTone Offset will be available this Spring through Eastman Authorised Dealers worldwide.
Learn more at Eastman.
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Vox AC15 Hand-Wired review – “all the things you’d hope for from a really good Vox amp”
£1,599/$1,999, voxamps.com
Aside from fellow Brit brand Marshall, there is no more iconic guitar amp manufacturer than Vox. The company that became an icon backing up the Beatles and countless artists since has the rare distinction of giving birth to a vernacular. You talk to a guitar player about “the Vox sound” and they invariably know what you’re talking about – jangly, chime-y, clear, and treble-focused – and it’s one of the staple sounds you’ll find on any modelling amp for that exact reason.
Despite this almost unparalleled heritage, the Vox brand has endured a turbulent history. It had huge success in 60s, before the company cycled through a variety of owners in the 70s and 80s, ending up as part of Japanese music giant Korg in 1992.
In the last 30 years under Korg’s stewardship, the brand has undergone a period of renewal, innovation and expansion – including the hugely popular Valvetronix modelling amps, and a bunch of hugely popular Asian-made PCB versions of its classic valve amps.
For many players, however, there is nothing quite like an AC amp made using the classic point-to-point techniques that original Vox design genius Dick Denney practised when he was building the amps that powered Lennon, Harrison, May and scores of others to rock stardom. And for that, you need to look at the Hand-Wired range.
Image: Press
Vox AC15 Hand-Wired – what is it?
The Hand-Wired series is designed to replicate the original Vox amps as precisely as possible. They’ve earned a great reputation because of this, and that’s perhaps why they don’t get updated very often: it’s been 15 years since the last refresh.
But when it does tweak things a little, the results are well worth a look and listen – and so I’m checking out the refreshed AC15 here. Why the AC15, when the AC30 is of course the most iconic and beloved of all the Vox amps?
Well, here in 2026, the opportunities for many of us to blast an AC30 as designer Denney almost certainly never intended are few and far between. The AC15 offers a nice middle-ground.
It’s not nearly as back-breakingly heavy as its bigger sibling, nor as impolite in a small gig situation, but it offers a bit more clean headroom at higher volumes than the smallest amp in the Hand-Wired range, the AC10.
So what’s new with the HW this time around? Well, Vox describes these amps as a painstaking recreation of 60s-era British chime, but with modern refinements.
The biggest difference to the previous generation of Hand-Wired amps is the cabinet – fawn tolex–adorned amp of yore, and in its place is a cabinet that’s been meticulously recreated based on its 1963 counterpart.
The changes are not just skin deep either – the 12mm birch ply cabinet is a precise recreation of the 1963 model’s dimensions, and is designed to capture the three-dimensional feel of its vintage predecessor.
You’ll also find an era-correct copper panel on top, and like previous models, the innards are all hand-wired internal, and paired with custom-wound, vintage-aping transformers. Round the back you’ll find a single 12-inch Celestion Alnico Blue speaker (a Greenback version has also just been announced) – it’s a trusty and classic combination.
As is tradition, you’ll find two channels here. The Normal channel delivers a warm, midrange-forward voice, with a Bright switch for added top-end clarity. Then you have the iconic Top Boost channel, which gives you the more aggressive, edge-of-breakup side of the amp. Both of them are now complemented by a new tube-driven spring reverb tank.
Image: Press
Vox AC15 Hand-Wired – sounds
You know what to expect when you plug a Jazzmaster into a Vox amp – or I certainly do anyway – and running into the AC15 Hand-Wired is a familiar but no less grin-inducing experience. That clean jangle that has made so many records come alive is present and correct.
Dialling in a bit of the lovely new valve-spring reverb, and we get all the things you’d hope for from a really good Vox amp. It’s three-dimensional, articulate, and rich with midrange warmth that cuts through a mix.
Switching over to the Top Boost circuit delivers an edge-of-breakup tone that’s dirty yet sonically pleasing to the ear. It offers more grit without ever sounding muddy. But how does it react to full-on drive? Plugging in a new Strymon Fairfax, I can confirm it takes it like a champ.
The response is clear, articulate, and never feels compressed or overly sharp, while the midrange emphasis strikes a great balance between highs and lows without becoming boxy or wooden-sounding.
Arguably, where the AC15 hand-wired excels most is as a pedal platform. It sounds great by itself of course, but is a perfect clean bedrock to your NASA-sized pedalboard.
Running a Deluxe Memory Man–style delay through it is an easy reminder of why the AC15 has long been an auditory staple for players like The Edge. Further experimentation with pedals like the Microcosm by Hologram Electronics or the Lost + Found by Chase Bliss shows that the Celestion Alnico Blue is no slouch when it comes to handling the low-end, near–synth-like frequencies these pedals are more than capable of producing. It never once “flubbed out” in its low-end response.
Image: Press
Vox AC15 Hand-Wired – should I buy one?
So, is the new Hand-Wired a Mega Man X-style upgrade – one that meaningfully improves on the limitations of its predecessor? It’s an invariably subjective thing, but in my mind, you can feel and hear the improvements.
The new hand-wired series represents a bold step forward, offering a faithful recreation of one of the most historically significant amplifiers in rock ’n’ roll history. It delivers the chime, it delivers the dirt, and it noticeably improves upon the shortcomings of its predecessor.
Like most remasters, this isn’t about reinventing the wheel. But for players seeking authentic Vox chime, this is one of the best options you should consider.
Image: Press
Vox AC15 Hand-Wired – alternatives
The iconic nature of the Vox sound means that there are a wealth of rather impressive boutique versions that cost a pretty penny – specifically the Matchless Nighthawk 15 ($3,191/£2,995), Dr. Z Z Wreck Combo ($2,749) , and the Morgan Amps AC20 ($1,699). If you want the vibe without the vintage-style construction, the standard Vox AC15C1 ($999/£679) will certainly get you a lot of the way there. If you want the Vox badge but don’t mind trying a modelling option, the Vox VT100X ($679.99) is another option.
The post Vox AC15 Hand-Wired review – “all the things you’d hope for from a really good Vox amp” appeared first on Guitar.com | All Things Guitar.
We called Positive Grid’s Spark LIVE “a radical leap forward for performers” – now it’s on sale with $110 off
Sweetwater is offering a range of deals across Positive Grid’s product line, including a generous $110 off its Spark LIVE combo amp and PA system.
The Spark LIVE is a 150-watt four-channel combo amplifier and PA System all in one. We included it in our round-up of the best amplifiers for all styles and budgets last year, highlighting it as the best choice for buskers and players on the go. We even scored it a flawless 10/10 in our original 2024 review.
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The Spark LIVE is not just a “big Spark”. It hosts Positive Grid’s Sonic IQ technology making it pack a punch, which is essentially a combination of hardware and software technologies such as dynamic range compression, vocal clarity enhancement, virtual bass augmentation and more, all driven by a computational audio chip.
Across its four channels, it covers pretty much all instrument types: Channel 1 covers guitar, Channel 2 focuses on vocals/bass/acoustic-electric guitar, and Channels 3/4 are equipped with stereo direct-ins for keyboards, computer audio, and pedalboards.
Just like the rest of Positive Grid’s Spark ecosystem, it pairs with the free Spark Companion app (available on Channels 1 and 2 with eight onboard programmable presets per channel) so you can access emulations of 33 classic amp models and 43 effects.
Find out more in the video below:
The Spark LIVE is one of many great Positive Grid deals on Sweetwater right now, where you can also grab the compact Spark GO combo amp for just $119, and the portable smart amp and PA system, Spark EDGE, now reduced to $359 (saving you $90).
Shop these deals and more now via Sweetwater.
The post We called Positive Grid’s Spark LIVE “a radical leap forward for performers” – now it’s on sale with $110 off appeared first on Guitar.com | All Things Guitar.
Mateus Asato’s highly-anticipated debut album finally gets a release date
Mateus Asato’s long-awaited debut album, ASATO, finally has a release date: 27 February, 2026.
The Brazilian-born virtuoso has enjoyed a massive social media following for years, and ASATO marks his first full-length album of original songs.
Coinciding with the announcement, Asato has shared the first single from the album, HENDRIX, an instrumental song inspired by late guitar icon Jimi Hendrix.
“Everything started after a late night thought I had in my studio while trying to make another song for my debut album: ‘If Hendrix were alive today and we were friends… around the same age… how would he write an instrumental song?!’” Asato says.
“After that, I had a song in 20 minutes. Everything simply just came out and I felt like a vessel receiving melodies from above. A unique experience.
“But this thought only happened after reading two books of his biography. Being completely inspired by it – I had no choice but honor the greatest guitar hero in history in my opinion.”
“His passion & faith through music, his sense of feeling things. One of the things that captivated me the most about his books was the story that “he’d always use his broom while cleaning his house pretending it was a guitar when a solo was being played on the radio”. Jimi was an eternal dreamer. Jimi truly believed music had supernatural powers — and that’s why his legacy shall remain.
“This song might not relate much to Hendrix’s music in technical structure, and that is not my intention here. This is just a title of gratitude to the one who changed my perspective of playing the guitar.”
ASATO is an album rooted in the musician’s quest to show instrumental music isn’t “missing something” without lyrics. “Sometimes the point of a message is its own subjectivity,” he says. “Like an abstract painting with no description.”
It also marks the moment Asato finalises his transition from a six-string sidekick – working alongside the likes of Bruno Mars, Jessie J and Silk Sonic – to a fully-fledged solo artist.
Mateus Asato recently made waves when he announced he was parting ways with longtime guitar brand and collaborator Suhr Guitars. Fans quickly began to speculate as to whether he was about to partner with another brand, but for now, he says he’s “‘single’ and happy where I am”.
ASATO arrives 27 February. Learn more at mateusasato.com.
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Harley Benton closes US Reverb store blaming “changes in economic conditions”
Thomann-owned budget gear brand Harley Benton has announced it’s closing its Reverb US online store, citing “changes in economic conditions” which have “made it increasingly difficult for us to continue operating in the US”.
The store is set to close on 31 January, 2026, with “no more products available” from 1 February. Harley Benton does say, however, that its team will remain active for warranty, repairs and customer support”.
“This wasn’t an easy decision, and we’re truly grateful for the enthusiasm and support you’ve shown to our brand,” Harley Benton writes in a new post on social media.
It adds that until the store’s closure on 31 January, “this is your last chance to grab Harley Benton gear directly from our warehouse – discounted and without tariffs”.
“Thank you to our US community for the trust, passion, and love – you’ll still be able to order Harley Benton instruments anytime via harleybenton.com, shipped from Germany through Thomann. We still focus on our mission to provide high-quality gear at fair prices.”
Tariffs implemented by US president Donald Trump over the past year have led to an increasingly hostile economic climate for guitar brands.
Just last month, Höfner – the German maker of Paul McCartney’s legendary violin bass – blamed its recent bankruptcy filing on the effects of US tariffs.
And a report in September from financial information and analytics expert S&P Global revealed that Fender had increased prices over the first half of 2025 to offset higher costs from tariffs, “especially from China, which makes up 40% of purchases (half of which enter the US).”
Speaking in July, guitar accessories manufacturer D’Addario said it expected to incur more than $2 million in tariffs in 2025 as a result of US international trade policy.
We caught up with John Mlynczak, CEO of NAMM – which is due to kick off later this week – in July to get his views on how Trump’s tariffs are shaping (and damaging) the musical instruments industry.
“We met with high-level members of Congress just to follow up and say… American-made brands can’t make these products unless they get wood from overseas,” he said. “We don’t grow these species of wood in the United States!’”
You can check out Harley Benton’s Reverb US store until 31 January.
The post Harley Benton closes US Reverb store blaming “changes in economic conditions” appeared first on Guitar.com | All Things Guitar.
“My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar
For Jacob Collier, music is its own solar system, and the possibilities are endless – because nothing you feel moved to create is right or wrong. You could write a song for a sitarist and an opera singer, or a harpsichord player and a shred guitarist. You could even write an album primarily for a unique five-string guitar, tuned to DAEAD.
As he became the internet’s favourite musical polymath – wowing the world first with his YouTube videos before embarking on a multi-Grammy-winning run of albums – there was a running joke that the 31-year-old had ‘completed music’.
Jacob Collier on the Guitar.com Cover. Image: Paige Margulies for Guitar.com
Indeed, the former Royal Academy of Music jazz piano student is capable of commanding an entire orchestra in real time – which is why his latest turn, to a new musical era that focuses on his voice and acoustic guitar, is so striking.
Pivoting to being a guitar guy is something that Collier has been thinking about since he started teaching himself to play in 2016, but it’s not a venture he felt prepared for until this moment. For starters, he’s had to develop a unique five-string guitar to realise his vision for the instrument. It doesn’t matter how an instrument should be played, Collier reckons. That’s why he’d choose five strings and an unconventional tuning over six any day.
“I learned a lot about guitar playing when I had to record takes in full… that was such a refreshing challenge”
“The guitar is such an important part of my musical vocab book,” he explains during some downtime on the final leg of his world-spanning Djesse Vol. 4 tour. The thing that clearly excites him most at the moment however, is his latest album, The Light For Days.
A huge sonic departure for Collier, the 36-minute album conveys the delicate beauty of his DAEAD-tuned five-string acoustic guitars and his rich, caramel vocals. The virtuosity and remarkable gift for harmony is present and correct, of course, but presented in a way that leaves him no hiding place as a musician.
“I learned a lot about guitar playing when I had to record takes in full,” he admits. “Because I didn’t lean on any studio-based techniques to get away with not playing real stuff. It’s all me playing, and that was such a refreshing challenge.”
Image: Paige Margulies for Guitar.com
At The Crossroads
Guitar has steadily crept into Collier’s musical output as he grew more comfortable with the instrument, but a tipping point came in 2024. Collier worked with Swedish ergonomic guitar innovator Strandberg to develop his own signature guitar – the first glimpse of his unique five-string vision for the instrument.
The guitar would feature prominently on Djesse Vol. 4’s boisterous track WELLLL, which was the final push launching him into this guitar-centric chapter.
“Spending time and attention with one instrument always tends to benefit,” he admits now. “When I played guitar nonstop for four days, it made me notice where my comfort areas are. I was trying some palm-muting things out for the first time and some different kinds of hammer-on effects, and even playing with some harmonics and thinking patterns. It was fun to be inventive.”
“I’d figured out stuff in my head that was only real once it was in my hand. I’d found this language”
Alongside the album, Collier also debuted a trio of new signature guitars with another forward-thinking guitar brand, Taylor. Again, the vision with these new guitars wasn’t to make something that had traditional mass-market appeal – even if two of the models have accessible price points.
All three guitars feature the same five-string layout, and are designed for that same unconventional tuning. There are other flourishes that set them apart from the norm. Collier’s interpretation of the popular GS Mini features a typically bold geometric soundhole rosette, while his Academy 22e model featured an eye-catching smoked eucalyptus bridge and fretboard that Collier quips is “really quite profound”.
But it’s unlikely to be the visuals of these instruments that cause guitarists to double-take – it’s that conspicuous absence of a sixth string. “If I hand a five-string guitar to people who are very familiar with playing six-string guitars, they’re delighted by the challenge,” Collier grins.
Image: Paige Margulies for Guitar.com
Take Five
“Challenge” might be an understatement since Collier’s playing style – which often sounds like a fluttering collection of notes in constant glissando – is equal parts Andy McKee and Tim Henson. But he’s keen to stress that the virtuosity he displays on tracks like Heaven is just one interpretation of the five-string concept.
“It’s like this strange hybrid of languages,” he continues. “It’s half-tuned like a mandolin or a bouzouki or a cello, in fifths, and it’s half-tuned in fourths, which is more like a bass guitar or a ukulele. It’s cool to see different people play it in their own ways.
“I remember handing one to Julian Lage, who’s one of the world’s greatest guitar players, and he had a really interesting approach. But then Chris Thile, one of Earth’s greatest mandolin players, had a completely different way of playing it.
“It’s an interesting kind of beast and it has refreshed me with a different perspective. It’s so easy to pick up and make it sound good – the shapes are straightforward and you can be really adventurous with that. It’s just a great place to start.”
“I’m a huge advocate for scrappiness in music”
The origin of this unique approach can be traced back to his initial forays into the guitar, which date back far before his recent infatuation, and it might surprise you to learn that it’s not as simple as wanting a guitar with one fewer string.
“I grew up playing tenor guitars,” he explains, referring to the once-popular four-string student models developed in the 1930s. “But I always had this wish to add another string. The five-string was initially an augmentation of a four, rather than a diminution of six.
“I mentioned the idea to my good friend Andy Powers, who’s Taylor Guitars’ master builder, and he built me this prototype. It was so mind blowing and exciting for me because I’d figured out stuff in my head that was only real once it was in my hand. I’d found this language, and it was really satisfying to see that language come to life on an instrument.”
Image: Paige Margulies for Guitar.com
Friends Indeed
Given that Collier has, at times, been described as the “Mozart of Gen Z” – and whose understanding of pitch and harmony is so unique and remarkable that legends like Herbie Hancock and Quincy Jones decided to mentor him when he was still a teenager – it’s perhaps not surprising that he’s developed his own unique approach to playing guitar.
But Collier stands firm in the opinion that anyone can reach these lofty heights.
“Anybody in the world who has ever played an instrument to a high level has started on day one, just like everybody else,” he says. “It’s a levelling thought, that everyone starts equal. I really believe to my core that there are intuitions about life that exist in music as a parallel situation.
“Music is much more inherent than people think,” he continues, “and a lot of people are intimidated or even put off when they start out as a musician. They might have one of those teachers who tells them they have to play the right notes or that they’re doing it wrong.
“I’m not interested in people imitating me. I would much rather people be themselves”
“But look at me with my five-string guitar – it’s about having a sense that anything is possible. My job is to imagine things worth existing, and then making them real as an artist. That’s my duty.”
Perhaps not so surprisingly, this inclusive mindset has gained Collier his own burgeoning fanbase who are unabashed about their deep connection to the musician. When we ask him about a video posted to Instagram in which a wonderstruck fan turned 100 at one of his shows, he smiles wide in recognition.
“Oh, you mean Nancy?” he asks. “Yeah, she’s become a really close family friend now and she knows my mum. But I think of my whole audience as my friends. Many of us have grown up together and the thing I’m proud to have created more than anything is community.
“This space of Jacobean people – it’s such a diverse group. I’m such a non-believer in monoculture where everyone comes to a gig dressed up in the same way and everyone wears the same hat and the same outfit. I’m not interested in people imitating me. I would much rather people be themselves.”
Image: Paige Margulies for Guitar.com
Risky Business
This constant theme of originality in Collier’s artistry has lately earned him his 16th Grammy nomination for Keep an Eye on Summer, a track on The Light for Days. It’s a nod to the impact this new acoustic, five-string guitar era has had on the industry.
He’s already the first Brit to win a Grammy for each of his first five albums. It shows that taking a risk and playing an instrument your own way pays off.
“What’s interesting about the Grammys is that they’re voted on by musicians,” he says. “You have to have made music or have a credit on a published piece of music to be eligible to vote in the Grammys. Every system is very biased, but I feel so proud and so lucky to have been recognised by those particular peers.”
Collier is also the only person to be nominated twice without his records ever charting. “That’s something I’m very proud of,” he says. “I think there’s such a change in the air, and it makes me so excited about all the artists who are coming up who don’t have commercial success.
Image: Paige Margulies for Guitar.com
“I totally respect people who are suspicious [of the Grammys],” Collier adds quickly with a smile. “There’s no measuring stick for music and you can’t objectively say what the best is. That’s not real. Obviously the whole thing is made up. But I think there are real people involved who take music seriously.”
Arguably, no one takes music more seriously than Jacob Collier. As he says time and time again, there’s no such thing as the right way to play something, and he’ll continue championing this mindset for the rest of his career.
“I’m a huge advocate for scrappiness in music,” he says, “and I’m an advocate for five-string guitars. I’m grateful to celebrate their existence in the wild.”
Words: Sophie McVinnie
Photography: Paige Margulies
Styling: Morgan Grimes
Glam: Yuval Ozery
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Boss makes a splash ahead of NAMM with new GX-1 and GX-1B multi-effects units, plus a new busker-friendly Roland Cube Street amp
NAMM is nearly here, and Boss is already debuting a range of exciting new gear to make the occasion. Not only has the brand unveiled a pair of new additions, the GX-1 and GX-1B, to its staple GX multi-effects series, but Roland, Boss’s parent company has also announced the new Cube Street Mini, a new addition to its busker-friendly Cube Street line.
If you’re heading to this year’s NAMM, you can trial out the new gear at California’s Anaheim Convention Center – just visit Boss in Room 202, Level 2.
Boss GX-1 and GX-1B Multi-Effects Processors
Credit: Boss
Boss’s new GX models are designed to suit any calibre of player, whether you’re looking for a great entry-level processor or a new addition to an advanced set up. The GX-1 is designed for guitarists and the GX-1B is designed for bassists.
Both the GX-1 and GX-1B offer a wide variety of amps and effects which can be customised to suit your sound. And its easy to work your way through the vast selection, thanks to the clear hexagon-shaped panel buttons. You can also adjust the effect order, to make flicking through effects more intuitive to your personal preferences, with eight simultaneous blocks to utilise. Alongside that, there’s also a volume pedal and noise suppressor, to add that extra level of control – and you can also easily turn effects on/off with a single tap.
The processors has plenty of room for crafting custom setups and presets. Both come with 99 preloaded presets, while there’s also room for 99 of your own custom presets.
In terms of footswitches, both the GX-1 and GX-1B offer freely assignable footswitches, with wired and wireless options both compatible. Boss’ brand new FSC-10 Footswitch Cap is also a potential addition to your unit, designed to enhance the functionality of your pedals.
The GX-1 and GX-1B also offer Bluetooth and USB connectivity, as well as offering some ultra-travel-friendly power options (you can stick to an AC adaptor, but it can also be powered by batteries or USB).
Both the GX-1 and GX-1B are available for $229.99.
For more info, head to Boss.
Roland CUBE Street Mini Multi-Instrument Amplifier
Credit: Roland
Roland’s battery-powered Cube Street Mini shrinks down the power of the brand’s flagship Cube Street amp and transforms it into something super portable. Thanks to its size and nifty handle, it’s a great option for travelling musicians, street musicians, or for use in your own personal studios.
While its not designed for large-scale events, the Cube Street Mini is powerful for its size. It boats dual channels, plenty of built-in effects, and even an onboard tuner. The amp also supports Bluetooth, meaning you can even stream music via your smartphone without using up one of its two channels.
The main channel support inputs from guitar, microphone, and plenty of other stereo instruments. The second channel’s combo jack, on the other hand, is more suited to microphones.
With seven hours of battery life, it will also comfortably see you through the length of a full set time. And its water-resistant, just in case your on-street busking sees a heavy downpour.
The Cube Street Mini is available now for $199.99.
For more info, head to Roland.
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Fender Play partners with Samsung TV to bring Fender Play to its biggest screens yet
Fender Play has come a long way since its 2017 launch; while it originally focused on beginner-friendly lessons, Fender’s learning platform now offers something for guitarists of all calibres. Last year, we awarded it 9/10 – and now, thanks to a collaboration with Samsung, you can enjoy the service in an entirely new way.
While the Fender Play experience has previously been limited to mobiles and computer browsers, it is now available on Samsung TVs, too. The new Samsung TV app allows users to access the platform’s huge library of technique guides, theory lessons and feedback modes, all on your TV.
“With video-based lessons on Samsung TVs, learning an instrument fits naturally into daily life and helps players reach goals faster,” Hun Lee, Executive Vice President of the Visual Display (VD) Business at Samsung Electronics, explains.
“By bringing Fender Play to TVs for the first time, Samsung is turning the largest screen at home into a place to learn and play together,” he adds.
Alongside Fender Play’s extensive catalogue of lessons, spanning content for electric guitar, acoustic guitar, bass or ukulele, the TV app allows a fresh way to experience the app’s Jam Mode.
While Jam Mode does what it says on the tin – allowing users to ‘jam’ out to their favourite tracks – the TV version of the mode feels more immersive. The move to a bigger screen essentially turns your TV “into a stage”, with a customisable background to make you really feel like a rockstar.
“We are thrilled to bring Fender Play’s immersive learning experience to Samsung TV users, helping guitar enthusiasts take their skills to the next level,” Cliff Kim, President of the Fender Play Foundation, notes.
“Our mission has always been to educate and inspire players globally, and this partnership allows music lovers to learn, practice, and play with Fender Play’s high-quality, interactive lessons directly on their Samsung TV.”
For those interested in exploring Fender Play, our 2025 review praised the app for its sheer mass of content. With its varied selection of instructors and presenters, impressive library of tracks, and helpful feedback modes, its a great whether you’re a newbie or an established guitarist wanting to fine-tune your skills.
The app is set to drop in the first half of 2026, and will be free to download. Of course, you’ll need a Fender Play subscription, which costs £19.49 a month or £144.99 annually.
This isn’t the only news coming from Fender at the moment. Elsewhere, the guitar giant has taken a dive into the DAW market, launching its own fully-fledged DAW, Fender Studio Pro. The development comes after the company took its first baby steps into DAWs with Fender Studio.
Fender Studio Pro is essentially building on the bones Studio One Pro, the DAW Fender bought in 2021. At the time, purchase hinted that Fender was interested in crafting its own advanced DAW – and it seems 2026 is the time for it.
The company has also just introduced a new CEO, Edward “Bud” Cole, who will be taking the reigns officially on 19 January.
For more information, head to Fender Play.
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