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Faith has landed at this year’s NAMM Show, unveiling the brand-new PJE Legacy FG4 Earth Satin Sunburst, while also upgrading its Nexus Series – and finally allowing its updated FX Series to make its international debut.

Firstly, the new FG4 model comes as the latest instalment in Faith’s PJE Legacy Series. The line honours the acoustic body shapes of iconic luthier Patrick James Eggle, with previous editions coming in the form of the PJE Legacy Mars’ drop-shoulder dreadnought, in honour of the PJE Kanuga as well as PJE Legacy Earth’s orchestral model reminiscent of the PJE Linville.

• READ MORE: “My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar

Priced at £1,565, the PJE Legacy FG4 takes on the same shape as the PJE Legacy Earth, and is comprised of a solid torrefied sitka spruce top and solid African mahogany back and sides. Not only is it designed for warm low-ends and a rich midrange, the top has even undergone a round of “torrefaction” to essentially roast it. This process apparently improves its structural stability, as well as enhancing its tonal character.

NAMM attendees will be able to get a hands-on experience of the Faith’s new axe, as well as getting a cheeky look at Faith’s upgraded Nexus Series. The upgrades vary from more surface-level visual tweaks to refined playability.

Visually, Faith has made its Nexus line more cohesive. The Nexus Copper Black in particular has been renamed to the Thru-Black, with its new name falling in line with the Nexus Thru-Cognac. Both the Thru- models also now feature the same black ABS body, fingerboard and headstock binding and figured ebony pickguard as the Nexus Venus Solar Flare and Nexus Neptune Coffee Brown.

In terms of playability improvements, all Nexus Neptune models will also now include a cutaway in order to improve upper-fret access, as well as employing a soundhole-mounted Fishman S-Tone system. Upgraded Nexus Venus models will also feature a new Fishman Presus 2 preamp system with an undersaddle piezo pickup.

Despite these changes, Faith ensures that each guitar will maintain the signature Nexus tone and feel. Updated models cost anywhere between £805 and £885.

Alongside Faith’s new and improved axes, there will also be the international debut of the fresh FX Series. NAMM attendees will be able to get up-close and personal with both the FX Dark Natural Gold and FX Moondust Grey electro-acoustic models, both costing £1,245.

If you’re going to be at NAMM, Faith Guitars is set up at booth Booth #7007 in Hall C. Head to Faith Guitars for more info.

The post A totally new guitar, an upgraded Nexus Series and an international debut – here’s what Faith Guitars has launched at NAMM 2026 appeared first on Guitar.com | All Things Guitar.

2026 is shaping up to be an exciting year for Sterling by Music Man. This year’s NAMM Show sees the brand debuting a host of new instruments, with new additions across the Luke, StingRay and Cutlass lines – we’re talking new artist models, short-scale alternatives, and it’s even time to say hello to the brand’s first baritone guitar.

The StingRay line is getting the most love this year, with the StingRay Baritone coming as the brand’s boldest move yet. It comes as Sterling’s first baritone axe, boasting a 27.5″ scale, 24 frets, and B-standard tuning in a striking shade of Toluca Lake Blue.

• READ MORE: The Sterling Kaizen was my favourite guitar of 2025 – but it looks like the new Ibanez Alpha Series is coming for the crown

The fresh StringRay Baritone also comes with a roasted maple neck, locking tuners and an HH pickup to round things off. It’ll cost you $849.99.

A smaller take on the StingRay has also been unveiled for bassists, with the lightweight StingRay Short Scale bass coming in at 30” scale. It’s a great option for anyone who can’t quite hack a full-scale StingRay without compromising on power, kitted out with passive electronics paired with a neodymium humbucker to maintain that strong punch.

There’s also a push-push volume boost and 3-way switch to help fine-tune your sound and adjust to your desired tonal character. The bass comes in Charging Green and sits at $749.99.

In terms of the Cutlass, the line gains two new additions this year. Both are pretty aesthetic-centric addition to the line, with the Cutlass Plus now available in Cashmere and Showtime – two new Ernie Ball Music Man signature styles. They’ll be available for $699.99.

There’s also a brand new finish for All That Remains’ Jason Richardson Artist Series Cutlass. The 7-string guitars serves as a must for metalheads, “designed to meet the technical demands” of the skilled axeman, focusing on a “hyper-ergonomic” feel to ensure even the fattest djenty chugs can be played with ease. That guitat is now available in Kokiri Forest green – and it’s also expanding to offer 6-string variants. A standard 7-string is priced at $999.99, with a 6-string option costing a slightly lower $949.99.

The Luke line is also earning a new addition, with its namesake, Toto’s Steve Lukather, working with Sterling to release the new Luke HSS. Yet again, the Luke HSS wears the iconic V neck profile and familiar Luke shape, but its also got a new HSS pickup alongside its 5-way selector, vintage tremolo and 12dB push-push volume boost. Available in Heritage Cherry Burst and Yucatan Blue, the Luke HSS is $849.99.

NAMM attendees also have the privilege of acquainting themselves with some unreleased guitars. While all of the aforementioned gear can be pre-ordered now, there’s two very special StingRay guitars at the event which wont be available until later in the year.

The first sneak peak on show at NAMM is the second edition of Cory Wong’s Artist Series Sting Ray. The StingRay II features locking tuners, an enlarged headstock and an oval-shaped pickguard reminiscent of the typical StingRay bass. That’s set to cost $749.99.

There’s also a SUB Series StingRay on show, which adds even more versatility to the SUB Series bass line. There’s a push-push volume boost to give that extra kick, alongside a 3-way switch to flick between parallel, and single-coil pickup configurations in an instant. The bass boasts a matching headstock and block inlays, resulting in a truly bold bit of kit. The SUB Series StingRay will be available in 4- and 5-string configurations, as well as coming in Seafoam Green or Vintage Sunburst finishes. – coming in 2026. The 4-string option will sit at $499.99, while the 5-string will be $549.99.

Except for the StingRay II and SUB Series StingRay, these new guitars can all be pre-ordered now. Head to Sterling By Music Man for more information.

The post Sterling by Music Man: New Luke model, Jason Richardson Cutlass and the brand’s first-ever baritone debut at NAMM 2026 appeared first on Guitar.com | All Things Guitar.

The NAMM 2026 Show is officially open, and the Guitar.com is on the ground with an agenda to visit as many booths and get the lowdown on as much exciting new guitar gear as humanly possible.

We were lucky enough to visit an event hosted by Fender last night showcasing its latest Custom Shop offerings for 2026, and let’s just say there was some serious eye candy on display. There was a cornucopia of top-line custom instruments – not only Stratocasters, Teles and Jazzmasters from Fender, but uniquely spec’d models from Jackson, Charvel and Gretsch, too. And lucky for you, we managed to capture some shots of our favourites. Without further ado, for your viewing pleasure…

Take a look at our up-to-the-minute live blog on all things NAMM 2026!

The post Here’s some serious eye candy from the Fender Custom Shop event at NAMM 2026 appeared first on Guitar.com | All Things Guitar.

Strandberg has made a serious splash at this year’s NAMM Show. And following the unveiling of its MIDI-infused headless Chameleon guitar with Jamstik, the innovative brand has lifted the lid on the Arc TILT, a patent-pending tremolo design for “smooth motion, stable pitch control and a more intuitive playing experience”.

The design is said to reimagine how a tremolo responds to the player, with a redesigned pivot system and tremolo block engineered to move in sync with the bridge, “resulting in a fluid and controlled feel” while maintaining stability.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

Touted as a “new way of thinking about tremolo design”, the Arc TILT debuts on two new Strandberg models, the Electric Fuchsia-finished Boden Standard N2.6T, and Black Denim Satin-finished Boden Original N2.6T. 

“The patent-pending Arc TILT tremolo is a groundbreaking innovation,” says Ola Strandberg, Founder and Chief Creative Officer of Strandberg Guitars. 

“It’s a new tremolo platform built around how players interact with the instrument. By rethinking motion, balance, and response, we’ve created something that feels more natural, more expressive, and more inspiring to play, while further advancing our long-standing focus on comfort and modern playability.”

In terms of pickups, the Boden Standard N2.6T and Boden Original N2.6T – the two guitars which feature the new Arc TILT system – are fitted with Seymour Duncan Pegasus and Sentient humbuckers and Fishman pickups, respectively.

You can learn more about the Arc TILT tremolo system at Strandberg.

The post “A new way of thinking about tremolo design”: Strandberg unveils patent-pending new tremolo system, the Arc TILT appeared first on Guitar.com | All Things Guitar.

Geordie Greep, frontman of Black Midi, has written a touching letter on the loss of his friend and former band mate, Matt Kwasniewski-Kelvin.

Kwasniewski-Kelvin sadly passed away after a long mental health battle at the age of just 26. He played guitar for the band from its formation in 2017, and stepped away in 2021 to focus on his mental wellbeing.

His family announced his death through a statement shared by the band’s label, Rough Trade Records, earlier this month. They described him as “a talented musician and a kind, loving young man”, and urged people to check in on their loved ones.

View this post on Instagram

Geordie Greep has now written his own statement, shared via social media, in which he has thanked their friends, those the band have worked with, and their fans for being so kind. He also passed on his love to the family of Kwasniewski-Kelvin.

“It’s really such a sad thing that’s happened,” he writes, “but I have been trying to focus on what a great person he was, what a force for positivity and goodwill, and how much better he made the lives of everyone who knew him. We all loved him so much, we really did. And he will stay with us for the rest of our lives.

“Even though I haven’t seen him in some years, I thought about him very often, and I always wished and hoped I would one day see him again. There is so much I wish I could say to him. I wish I could say how sorry I am for everything that happened, how sorry I am that he was unlucky enough to be battling such a cruel, unforgiving and persistent illness, how much I miss him and will miss him always, and how thankful I am for everything he did for me.”

He later continues, “We had a dream when we were 14 years old of making crazy music and playing it around the world, being able to make music on our own terms and be able to do it for a living – and we bloody did. We did and in a short time too.”

Before sharing some throwback photos of the band, Greep concludes: “So thank you Matt, thank you for everything. You’re always gonna be with me. Every stage and studio or wherever I play I’ll be thinking of you. I dedicate the rest of my life to finishing what we started. And I would never be able to do any of it without you. I love you, thank you so much.

“And thank you everyone else too. Best wishes to everyone. I love you all. I don’t have many good pictures of us all together, but here are a few. One from our very first recording session (in a proper studio) and a few from our very first gig, and some from us and a few other great friends from school playing the blues. That was nine years ago now, and I remember it like yesterday. These are the sort of memories you can’t forget.”

You can read Geordie Greep’s full post below:

View this post on Instagram

If you’re struggling with your mental health, you can find support through Find A Helpline.

The post “I dedicate the rest of my life to finishing what we started”: Geordie Greep pays tribute to former Black Midi bandmate Matt Kwasniewski-Kelvin appeared first on Guitar.com | All Things Guitar.

Yamaha has launched two new Pacifica variations – the SC Professional and SC Standard Plus – as well as a brand new Revstar signature model made with Chris Buck.

These new Pacifica models are single-cut versions of its Professional and Standard Plus models released in January 2024. These guitars share many of the same features but the Professional variation has a higher price point, and varies with a 9.5 -12” Compound Radius fingerboard (12” on the SC Standard Plus), a custom tinted satin neck finish, and a hardshell case as opposed to a gig bag.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

These new Pacifica models are fitted Reflectone pickups, developed in partnership with Rupert Neve Designs. They come in an S-H configuration, and are accompanied by a Focus Switch to offer a wide tonal range. Each guitar has a contoured, chambered body, engineered with Acoustic Design technology for enhanced resonance.

Both guitars come with either a rosewood or maple fingerboard, and have 22 medium jumbo frets, Gotoh locking tuners, and a range of colours. Depending on your model and choice of fingerboard material, colour availability may vary. In total there are eight colours: Ash Pink, Breeze Metallic Blue, Sunny Orange, Black Metallic, Shell White, Peppermint Green, Desert Burst, and Black.

Also joining its exciting NAMM launches is the Chris Buck Signature REVSTAR RS02CB guitar. The REVSTAR series has been inspired by café racer motorcycles, Japanese artisanship and cultural heritage since its debut in 2015. Its second generation later arrived in 2022.

The RS02CB was developed in close collaboration with Buck to faithfully reproduce the sound and feel of his custom REVSTAR. It features P90 style pickups tuned to his preferences, a wrap-around bridge, a chambered body and a carbon-reinforced neck.

“My custom shop REVSTAR has been the beating heart of every record I’ve made and every show I’ve played since I first laid hands on it in 2020,” he says. “It hasn’t left my side and has quite literally travelled the globe with me, from Cairo to California.

“The phrase ‘labour of love’ gets thrown around a little too often these days, but collaborating so closely with Yamaha to recreate my guitar over the past few years has been exactly that. I am beyond thrilled to finally see it come to life. As much as it may be based on my guitar, this one’s yours.”

The Professional SC model comes in at £2,247.18, while the Standard Plus SC is priced at £991.90. The Chris Buck Signature REVSTAR is priced at £1,253.20. You can view all of these new launches over at Yamaha.

The post Yamaha partners with Chris Buck on new signature Revstar – and launches new single-cut Pacifica models appeared first on Guitar.com | All Things Guitar.

ESP has launched 14 new models for its LTD Deluxe 1000 Series for professional players.

The 14 new arrivals include new colours, as well as completely new designs and shapes making their series debut. Matt Masciandaro, president and CEO of ESP, says these LTD Deluxe Series guitars for 2026 are among its “best in history”, and we’ve rounded up the key highlights.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

The swathe of new launches sees the LTD Deluxe Arrow-1000 being made available in a brilliant Pearl White finish. This V-shaped guitar offers neck-thru-body construction, extra-jumbo stainless steel frets, and a set of direct-mount Fishman Fluence Modern 3-Voice Humbucker active pickups.

Three new EC-1000 models are also joining the LTD Deluxe Series, these are the EC-1000 Candy Apple Red Satin, a single-cutaway guitar fitted with a set of ESP-exclusive Seymour Duncan new MortalCoil 3-Voice Active Humbucker pickups, the EC-1000 Granite Sparkle, and the EC-1000 Pearl White.

With a shape making its long-awaited addition to the LTD lineup, the LTD Deluxe MV-1000 Pearl White is based on the ESP Maverick, with smooth curves and a slightly asymmetrical shape that truly stands out from the crowd of typical guitars.

Another new model for 2026, the LTD Deluxe NV-1000 marks the return of the ESP NV shape to the LTD brand with neck-thru-body construction, extra-jumbo stainless steel frets, a Floyd Rose 1000SE double-locking tremolo, and a set of EMG 81 (bridge) and EMG 60 (neck) active pickups.

The LTD Deluxe TH-1000 Snow White takes a familiar look and dresses it up a little more with contemporary design features such as a swamp ash body, roasted maple neck, extra-jumbo stainless steel frets, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and a set of Seymour Duncan MortalCoil pickups.

Also offering the same shape is the LTD Deluxe TH-1000 EverTune FM See Thru Black Sunburst, with an EverTune constant tension bridge, along with a flamed maple top, a roasted maple neck, a black bone nut, and a set of Seymour Duncan MortalCoils

The LTD Deluxe Viper-1001 EverTune Charcoal Metallic Satin also features the EverTune constant tension bridge, along with set-thru construction at 24.75” scale, extra-jumbo stainless steel frets, and an EMG 81 active humbucking pickup.

In our final list of  highlights, the LTD Deluxe XJ-2HT Snow White jazzes up the offset XJ body shape with key features including a swamp ash body, roasted maple neck, extra-jumbo stainless steel frets, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and a set of Fishman Fluence Modern 3-Voice Humbucker pickups.

One of the highlights of the new additions visually is the RS-1000, which sports ESP’s Random Star shape for some serious star power, alongside a neck-thru-body construction, Floyd Rose 1000SE tremolo, and an EMG 81 and 85 active pickup set.

You can visit ESP Guitars at NAMM Booth 210D, or head over to the ESP website for more information on all of its new arrivals.

The post 14 new guitars in ESP’s LTD Deluxe 1000 Series are the “best in its history” – here’s everything you need to know appeared first on Guitar.com | All Things Guitar.

ESP has expanded its Signature Series with eight new instruments for Joe Duplantier, George Lynch, Mick Thomson and more, and even two new guitars celebrating late Children of Bodom guitarist Alexi Laiho.

There’s also new guitars for Slaughter to Prevail guitarist Jack Simmons, late Slayer legend Jeff Hanneman, and a new finish for Stephen Carpenter’s LTD SC-607 Baritone.

• READ MORE: Seymour Duncan MortalCoils: active humbuckers with three “precision-engineered” voices

“ESP’s Signature Series offers something for everyone,” says Tony Rauser, ESP Director of Artist Relations. 

“The artists who play these guitars are among the world’s most respected guitarists, and their Signature guitars allow people the opportunity to use the same instruments they’ve seen played in front of thousands of people on stage and heard on some of the most acclaimed albums of all time.”

Alexi Laiho (Children of Bodom)

The two new Alexi Laiho models commemorating the Finnish melodic death metal pioneer are an Arrowhead SE 20th Anniversary, black with yellow bevels, and a Sawtooth SE 20th Anniversary model, black with white pinstripes. Both feature the offset V shape Laiho was somewhat synonymous with, as well as a neck-thru construction, 25.5” scale, Macassar ebony fingerboard, Grover tuners, single EMG HZ F-H2 passive pickup and Floyd Rose 1000 bridge.

Joe Duplantier (Gojira)

Elsewhere, Gojira frontman Joe Duplantier gets the JD-1, which sports a modified take on the offset XJ shape, with a bolt-on construction, 25.5” scale, three-piece roasted maple neck, Macassar ebony fingerboard, pearloid block inlays, 22 extra jumbo stainless steel frets, and Joe’s signature DiMarzio JD Fortitude passive humbucker.

George Lynch (Dokken, Lynch Mob)

The LTD GL-200 Kami arrives as a “streamlined” version of George Lynch’s 1985 Kamikaze guitar, with a solid black finish, hockey stick reverse headstock, basswood body, Floyd Rose Special double-locking tremolo bridge, and a set of ESP LH-150B and LS-120 pickups.

Jack Simmons (Slaughter to Prevail)

New to the ESP Signature artist family in time for NAMM 2026 is Jack Simmons, guitarist for deathcore titans Slaughter to Prevail. He gets the LTD JS-7 Baritone, which features a V-shaped body with a neck-thru construction, 27” scale, 24 frets, 48mm Graph Tech TUSQ XL nut, Hipshot 7 hardtail bridge and Fishman Open Core Modern 3-Voice humbucker active pickup.

Jeff Hanneman (Slayer)

Paying tribute to late Slayer guitarist Jeff Hanneman comes the LTD JH-200 CTM. Priced for “accessibility” for the legions of Slayer fans around the world, the guitar sports a bolt-construction, uninhibited access to the upper frets for ripping solos, an alder body, red star inlays, a Floyd RoseSpecial double-locking trem and a set of high-output ESP LH-301 humbuckers.

Mick Thomson (Slipknot)

Mick Thomson’s LTD MT-1 Signature Series model gets a new Black Satin finish. As a reminder, the guitar features a set-thru construction, 25.5” scale, mahogany body with a white ash top, 24 frets, Graph Tech Black TUSQ XL nut, Hipshot Grip-Lock open gear tuners, Hipshot Hi-Mass hardtail bridge, blue Luminlay side dots and a Fishman Fluence Mick Thomson signature pickup.

Stephen Carpenter (Deftones)

And finally, the LTD SC-607 Baritone – the Signature Series model for Deftones guitarist Stephen Carpenter – gets a new Magenta finish with gold hardware, based on one of Stef’s beloved personal ESP Custom Shop guitars. Features include seven strings, neck-thru-body construction, 27” scale, TonePros locking TOM-style bridge, and a set of Carpenter’s Fishman Fluence SRC Signature 3-Voice pickups.

Learn more about the new additions to the Signature Series at ESP.

The post ESP expands its Signature Series for NAMM 2026 with kitted-out models for Mick Thomson, George Lynch, Stephen Carpenter and more appeared first on Guitar.com | All Things Guitar.

Seymour Duncan has launched its new MortalCoil active humbuckers, which offer three voices catering to a wide array of tonal desires.

The launch marks its first multiple-voiced pickup, and each voicing has been “precision-engineered” to allow a single guitar to move all the way from shiny cleans to aggressive high-gain tones. They’re available now in 6- and 7-string configurations, and can be installed as a simple drop-in upgrade for many existing active setups. All pots and wiring are included.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

Diving into each voice, we begin with MortalCoil’s MC1 (Voice 1), for a modern metal sound. This voice delivers “uncompromising tightness, note separation, and cutting presence” for metal players, and Seymour Duncan claims it does so without fizz or nasal midrange, even under extreme gain.

The second voice brings classic JB Bridge and Jazz Neck tones, while Voice 3 offers a single-coil voice with plenty of output and definition for all your clean needs. Precision-wound, high-density copper coils with optimised resistance are at the core of these pickups, and an all-new advanced, audio-optimised preamp brings clarity and definition.

Find out more and hear them in action below:

In other Seymour Duncan news, Slash has teamed up with the brand for another collaboration. The Slash 3.0 Pickup Set – his most “aggressive” signature set to date – was created especially for his appearance at Black Sabbath’s historic Back To The Beginning gig last July. Slash has used Seymour Duncan pickups for over four decades, but for the special occasion he wanted some extra oomph for his Gibson SG.

You can get the MortalCoil humbuckers as a set for $279, or as a single pickup for $169. Find out more by visiting Seymour Duncan.

The post Seymour Duncan MortalCoils: active humbuckers with three “precision-engineered” voices appeared first on Guitar.com | All Things Guitar.

Laney has unveiled the Supergrace Loudpedal, a floor-based dual-amplifier platform that puts Billy Corgan’s live rig within reach of any guitarist.

Developed in close collaboration with the Smashing Pumpkins frontman himself, Supergrace captures the core of Corgan’s touring sound – without the towering backline or $100k price tag.

At its heart are two of Corgan’s essential amplifier voices: the high-gain Carstens Grace, and the iconic Laney Supergroup, now distilled into a single, compact 60-Watt floor unit.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

Translating those two professional-grade amplifiers into a compact floor-based format was no small task, says the brand. Working alongside Laney and amp designer Brian Carstens, the goal was to preserve the feel and character of each amp rather than simply approximate their tones.

“We wanted something that would be used night after night on the world’s biggest stages-not as a compromise, but as the real thing,” says Carstens. The result is the Supergrace: a dual-amplifier platform designed for players seeking both heritage and innovation.

On one side sits the Grace channel, born from Corgan’s demand for extreme gain and massive headroom. Adapted from the original Carstens Grace amp, this channel delivers articulate high gain with exceptional note definition, even at saturation levels where most amps collapse.

“It’s really solid,” says Corgan. “There’s so much body to the notes.”

Alongside it sits the Supergroup channel, a faithful recreation of the legendary Laney amp from the late 60s that shaped early heavy metal. Even the circuit’s distinctive “transformer rub” sub-note, a detail prized by vintage Laney fans and heard on countless Laney recordings, has been preserved.

Beyond the amp tones, the Supergrace is built as a complete modern rig. It features a true analogue signal path with no digital amp modelling, paired with Laney’s proprietary LA·IR Advanced Speaker Emulation. The pedal comes preloaded with Corgan’s own touring Impulse Responses, which can be swapped via the company’s LA·IR app.

USB-C connectivity enables latency-free recording straight into a DAW, while MIDI control, a transformer-isolated FX loop, auxiliary input, and headphone output make it equally suited to studio, stage, or silent practice.

Crucially, the unit has already been tested in the real world by the man himself. Corgan took a Supergrace prototype onstage at a My Chemical Romance show in Chicago, performing in front of 60,000 people without his usual $100k+ touring rig – and the pedal passed the test with flying colours.

Priced at $629.99/£449/€529, each unit is handcrafted at Laney’s Black Country Customs workshop in Birmingham, England, and ships in a premium presentation box, complete with power supply and USB cables.

Learn more at Laney.

The post Billy Corgan’s $100k live rig is now a pedal – Meet the Laney Supergrace appeared first on Guitar.com | All Things Guitar.

£899/$999, eastmanguitars.com

Eastman’s quest to create something interesting, impressive and different in the affordable bolt-on guitar space with the Fullertone range has been one of the stories of the guitar world over the last 12 months, and for 2026 chief luthier Otto D’Ambrosio is opening his tent to expand the Fullertone concept to new audiences with the new Offset ’62.

• READ MORE: With the FullerTone, Eastman Guitars stands at the new frontier of quality affordable electrics

Eastman Fullertone Offset ’62 – what is it?

The Offset ’62 is a Chinese-made and more affordable interpretation of the Offset ’62 from the Europe-made D’Ambrosio series, which launched at last year’s Guitar Summit. Over the past several months, Eastman has been working with YouTuber Paul Davids to refine the Offset ’62 concept to make it more suited to the average player’s needs. This entailed moving the toggle switch to the upper bout, changing the forearm contour for added comfort, and moving the volume knob closer to the bridge pickup for ease of access.

The result is the guitar you see before you in both its Dakota Red and Gold launch finishes. The body is a lightweight roasted black limba, with a similarly roasted maple neck with rosewood board. In terms of electronics you get a pair of Gold Foil-covered ToneRider soapbar humbuckers plus premium Orange Drop, 022μF capacitors and CTS 250K pots.
The hardware is similarly premium – you get nice looking and feeling six-in-a-line vintage style tuners, an anodized aluminium pickguard, and in a new one for the Fullertone range, a Jazzmaster-style-but-not Göldo DG Tremolo.

The neck is attached to the body using the innovative single-bolt system developed by D’Ambrosio that gives the range its name, and you also get a padded gigbag for the money – which is a little more than the first Fullertones, it must be noted.

Eastman Fullertone Offset ’62 – build quality and playability

Removing the Offset ’62 from its padded gigbag. I’m immediately impressed with the refreshingly original yet knowingly vintage vibe of the instrument.

The roasted maple neck is quite chunky in the palm but it’s smooth satin finish, medium Jescar FW47104-P frets and Fender-esque 25.5” scale length, combined with the 12” radius rosewood fingerboard, contribute to a familiar and instantly comfortable playing feel.

Immediately impressive is the lightweight, sleek and svelte feel in the hands. Despite being a sizable mass, roughly as wide as my Les Paul, it’s original offset design conforms to the Eastman Family in terms of looks and slick contoured body feels even better in person – clearly the real world testing done by Davids has really helped to make this guitar simply melt into your body as you sit and play it.

On a strap, the Offset ’62 sits in a wonderfully balanced position with everything intuitively positioned ready to rock, not true of every offset design, the Eastman is ready to jangle or shoegaze the night away!

Eastman Fullertone Offset ’62 – sounds

Unplugged, the Offset ’62 has a Tele-style snap to its attack and plenty of midrange clout to its decay, albeit softened slightly I suspect by the rather intriguing looking Göldo trem. As far as I’m aware, this is the first production guitar – certainly at this price point – to spec this as standard, and it’s an interesting concept.

It may at first look like the lost lovechild of a Jazzmaster Trem and a Burns Accent vibrato unit from the 1960s, but in fact it feels and functions more like a great Bigsby with more immediate response than the classic Fender vibrato used on the Jazzmaster and Jaguar.

I really like both its quirky almost 60s pawn shop aesthetic but also its very musical and smooth operation for everything from gentle chord wobbles to shoegaze sonic vibrato waves, all accomplished with an impressive lack of retuning required. This no doubt helped by the cleverly designed straight string pull over the genuine bone nut to the sleek stepped headstock design.

With a three-way toggle switch placed on the upper bout and a master volume, two tone control setup all neatly mounted on the very cool aluminium early Jazzmaster-hinting pickguard, everything feels nicely laid out under the hands too.

Before plugging in I wasn’t quite sure what to make of the pickups, whilst they may look like Gold Foils, that is obviously a very specific thing construction-wise. Wisely then for , Eastman describe them as ‘Soapbar Humbuckers with Goldfoil covers’ and whilst this may be a smorgasbord of tonal a nomenclature, plugging in to my black panel amp soon revealed a jangly bright toned bridge pickup with plenty of midrange bite and an impressive lack of hum.

Kudos again to Eastman for creating something original again with these pickups, they have the musical airy top end of a good old gold foil with lots of the gutsy midrange of an old P-90. It’s a wonderful combination, and switching to the neck position reminds me of lots of the best bits of a good Firebird neck pickup. A very distinct, immediate tone that’s void of any flub and instead punches though a mix like a much fatter Strat neck pickup.

The middle position is the guitar’s crowning glory however, a beautiful jangle tone into a clean amp that had us switching to our Vox amp for some superb sixties jangle pop tones that bring us into Ricky and Gretsch land. Jumping on a fuzz pedal revealed these pickups handle gain rather well too – with a clear versatile sonic voice of its own that holds together well in all positions. Superb.

Eastman Fullertone Offset ’62 – should I buy one?

We truly are living in a golden age of affordable gear. For a guitar as accomplished and great feeling as this Eastman Offset ’62 to be available at this price is a real win for players.
Not only does this guitar stand out from the usual crowd visually, it has a unique sonic voice and retro feel all of its own and could happily accompany you on a career of live playing and recording.

If I’m being picky, I’d like to see the range expanded with more colour options and pickup alternatives, to appeal to more players, but if you want to stand out from the crowd, you really should check one of these out. There’s a huge amount to love about the Offset ’62 – especially at this killer price.

Eastman Fullertone Offset ’62 – alternatives

The historic king of the offset, even at this price range is a Jazzmaster and the Fender Player II Jazzmaster takes a lot of beating value wise as does the superb Fender Vintera II Roadworn 50’s Jazzmaster for a little extra cash. It’s nearly triple the price, but the fantastic Duesenberg Bros Landreth Joey’s Guitar features gold foil humbucking pickups, a wide range of tonal modes, and an offset body.

The post Eastman Fullertone Offset ’62 review – “it has a unique sonic voice and retro feel all of its own” appeared first on Guitar.com | All Things Guitar.

UK-based amp maker Blackstar has entered the floor-modeller space with the launch of ID:X Floor, its first range of high-performance digital floor processors for electric, bass and acoustic guitars.

Built as a floor-based evolution of the brand’s popular ID:X combo amps, the ID:X Floor series aims to deliver “the tone and feel of a real amp” without the distraction of endless menu-diving. Combining decades of amp-building experience with component-level digital modelling and powerful DSP, Blackstar says the result is a more responsive, valve-like playing experience with intuitive, hands-on control.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

At the core of ID:X Floor is advanced component-level modelling, designed to capture not just the sound of an amp, but the way it reacts under the fingers.

The system features 12 authentic component-level electric guitar amp models – split between six Blackstar designs and six Ampton recreations of classic amps – alongside three bass amps, two acoustic voices, and an acoustic simulator.

Players can also select different virtual power valve responses (EL84, EL34, or 6L6) and shape everything using Blackstar’s familiar ISF control.

Cab simulation is handled by Blackstar’s IR-driven CabRig system, which aims to feel more dynamic than traditional static impulse responses. The company’s ‘In The Room’ CabRig technology is designed to recreate the sensation of standing in front of a real valve amp, whether you’re running direct to front of house, through an FRFR system, or integrating ID:X Floor into a pedalboard. Full MIDI control is also on hand for deeper integration with more complex setups.

Finally, a full suite of I/O, including USB-C for audio interface use, balanced XLR outputs and headphone output, let ID:X Floor integrate seamlessly with FRFR cabs, traditional amps, or DAWs.

Players can choose between three models: The ID:X Floor One ($239.99) keeps things compact and pedalboard-friendly; the Floor Two ($279.99) adds a built-in expression pedal for volume, wah, and effects parameters; while Floor Three ($349.99) is the “ultimate floor solution” with extended patch/effects switching, added MIDI Thru and an effects loop for maximum versatility.

Alongside the modeller launch, Blackstar has also announced Artist FR, a new line of powered full-range, flat-response (FRFR) cabinets designed to give digital modeller users the dynamics and feel of an actual guitar amp.

“Most FRFR cabinets feel like PAs pretending to be guitar amps,” says Blackstar. “With Artist FR, we’ve created cabinets that look right, feel right, and respond like a real amp – compact, affordable, and ready for any gig.”

The cabinets combine custom flat-response speakers with whizzer cones, active three-band EQ and Presence controls, and include a built-in kickstand for easy floor monitoring.

Two models are available: the $369.99 Artist FR Standard (50 Watts, 1×12) for home use and smaller gigs, and the $449.99 Artist FR Special (100 Watts, 1×12) for louder stages and rehearsals.

Learn more at Blackstar Amps.

The post ID:X Floor – Blackstar’s first “high-performance” digital floor modellers deliver the tone and feel of real amps with hands-on controls appeared first on Guitar.com | All Things Guitar.

In one of the most innovative new offerings to be revealed at NAMM 2026, Strandberg has partnered with Jamstik for a new MIDI technology-infused headless electric guitar.

The Strandberg x Jamstik Chameleon MIDI Guitar is essentially a traditional analogue electric guitar (well, ‘traditional’ might be a stretch – it is Strandberg, after all) with MIDI functionality. The instrument aims to empower guitarists not only in playing, but in composing, producing, transcribing and other areas of modern digital music creation.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

Via its onboard MIDI functionality, the Chameleon MIDI Guitar allows players to control software instruments, hardware synthesizers, as well as other digital production tools.

In terms of connectivity, the guitar features a USB-C input for direct computer and DAW integration, TRS-MIDI for controlling hardware synths without a computer, and even Bluetooth functionality for wireless configuration and real-time setting adjustments via mobile devices.

“By embedding our MIDI technology into Strandberg’s guitars, we’ve built an instrument that supports modern creative workflows while still feeling unmistakably like a world-class guitar,” said Jonathan Keller, Senior Engineer at Jamstik.

“Strandberg’s craftsmanship and ergonomics gave us the ideal foundation to make MIDI feel expressive, musical, and completely natural to play.”

Aesthetics include a “chameleon-style” finish which subtly shifts between purple, green and graphite tones depending on the lighting.

“Strandberg guitars are designed to remove friction between the player and their ideas,” says Ola Strandberg, Founder and Creative Lead at Strandberg Guitars.

“This collaboration with Jamstik extends that philosophy into the digital domain, giving players new creative possibilities.”

Each guitar includes access to Jamstik Creator, Jamstik’s companion software for configuring MIDI behaviour, sensitivity, tuning options and performance settings.

The Strandberg x Jamstik Chameleon MIDI Guitar is priced at $2,199/£1,799, and is available now as a limited pre-order via Jamstik and Strandberg. The first batch is scheduled to ship early spring 2026.

If you’re heading to NAMM 2026, you can also visit Strandberg at Booth #5414 and Jamstik at Booth #9907.

The post Strandberg and Jamstik partner on a headless electric guitar with MIDI functionality appeared first on Guitar.com | All Things Guitar.

Guild has introduced a pair of new 12-string acoustics, the F-412 and F-412E Standard.

Both available in Natural and Pacific Sunset Burst, these guitars are branded as instruments for the “working guitarist”, and both sport a solid an array of quality tonewoods, with African mahogany backs and sides, solid Sitka spruce tops, as well as comfortable C-shaped mahogany necks with Indian rosewood fingerboards.

• READ MORE: “My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar

Finishing touches include tortoiseshell pickguards, white body binding, and cream Deluxe Vintage open-gear tuners.

The F-412E Standard is an electro-acoustic version, with an L.R. Baggs Element VTC active pickup system, offering Volume and Tone controls for tone shaping.

Built in America, Nick Beach, Guild’s Product Manager of Fretted Instruments notes of the new guitars: “The new F-412 Standard guitars are the first American-made mahogany body 12-strings that Guild has offered in many years. These professional-quality guitars are also more accessible than our top-of-the-line 12-strings, putting them well within reach of working guitarists.”

In terms of pricing, the F-412E Standard Natural sits at $2,999.99, while the F-412E Pacific Sunset Burst costs $3,099.99. If you’re strictly sticking to the acoustic side with no electronics, the F-412 Standard Natural is $2,799.99, with the F-412 Pacific Sunset priced at a slightly higher $2,899.99.

All F-412 and F-412E Standard guitars also come with a Guild Deluxe humidified hardshell case, as well as an accompanying Certificate of Authenticity.

To find out more, head to Guild.

The post Guild unveils two new “accessible” 12-string acoustics, the F-412 and F-412E Standard appeared first on Guitar.com | All Things Guitar.

In what’s sure to be one of the biggest launches of the 2026 NAMM Show, Neural DSP has unveiled the Quad Cortex Mini, offering the full sound and processing power of its flagship Quad Cortex amp modeller in a significantly smaller footprint.

Measuring just 22.8 x 11.8 x 6.5 cm, weighing just 1.5 kg and 50% smaller, the Quad Cortex Mini is designed for easier-than-ever integration into pedalboards, compact racks and desktop studios, without sacrificing the immense power of the larger flagship version. You may or may not remember we blessed the original Quad Cortex with a 10/10 rating in our 2021 review, asking whether it would become the most “game-changing guitar product of the decade”. But will the Quad Cortex Mini make the same splash in the amp modeller market?

• READ MORE: Roland adds three more treasured Boss pedals to its Effects Pedals plugin

The Quad Cortex Mini interface is centred around a 7” touchscreen display and four stainless steel rotary footswitches, offering “precise, tactile control underfoot and at the fingertips in both live and studio environments”.

Features include Neural Capture V1 and V2 support for capturing amps, cabs, drives, fuzzes and compressors, a comprehensive library of 90+ amps, 100+ effects, 1,000+ IRs and 2,000+ Captures, and free access to thousands of community Captures via Cortex Cloud.

There’s also the Focus system for fast, hands-on parameter control with the rotary footswitches, a Pages system for extended footswitch control without increasing hardware footprint, and a Gig View for “performance-focused” stage control.

And while we’re on the topic of performance, the Quad Cortex Mini introduces a locking power connector for secure live operation. There’s also comprehensive I/O, with an instrument/mic combo input with phantom power, balanced XLR outputs, stereo send/return via TRS, MIDI over TRS and USB-C, and even a headphone output for quiet practice.

The new unit also sits neatly in the Quad Cortex ecosystem, with users able to move presets and system backups between a Quad Cortex and Quad Cortex Mini, if they wish.

“Since the introduction of Quad Cortex in 2020, our goal has been to define the standard for what an all-in-one digital rig can be,” says Douglas Castro, CEO and Co-Founder of Neural DSP.

“We set out to combine machine-learning-based modelling, studio-grade audio quality, and a fast, performance-focused workflow in a single unit. With Quad Cortex Mini, we’ve carried that same philosophy forward, preserving the processing architecture and Neural Capture technology that allow us to create ultra-accurate digital replicas of amplifiers, cabinets, drive pedals, fuzzes, and compressors, now in a more compact form without compromise.”

In addition to the launch of the Quad Cortex Mini, Neural DSP has unveiled CorOS 4.0.0, bringing new utilities to the platform including a series of reverbs, plus Phase Doctor, which aligns signals in stereo rigs and multi-amp setups.

“Quad Cortex Mini represents our belief that size shouldn’t dictate what a professional rig is capable of,” concludes Francisco Cresp, Neural DSP Co-Founder and CPO.

“It carries forward the same sound quality, the same processing depth, and the same creative control that define Quad Cortex, while opening up new possibilities for how and where that level of performance can be used. The goal was to ensure that whether a player is in the studio, on stage, or on the road, they can rely on the same technology, the same results, and the same level of trust in their rig, regardless of form factor.”

The Quad Cortex Mini is available now, priced at €1,299. To learn more, head to Neural DSP, and if, like us, you’re lucky enough to be at the 2026 NAMM Show, you can pay Neural DSP a visit at Booth #5243.

The post “A more compact form without compromise”: Neural DSP downsizes its flagship Quad Cortex with the smaller but equally powerful Quad Cortex Mini appeared first on Guitar.com | All Things Guitar.

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.

• READ MORE: Bourgeois Guitars’ limited-edition Luke Bryan signature line is made with Black Walnut hand-selected from his own farm

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.

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.”

While this isn’t the first collaboration between Ed Sheeran and PRS – they worked together last year on a one-off SE Hollowbody Baritone for the music video for Drive, from the F1: The Movie soundtrack – it is the first PRS x Ed Sheeran model to be available for purchase by the public.

The Limited Edition Ed Sheeran “Cosmic Splash” model is available now, priced at £1,599/$1,599. Each guitar also comes with an 8” x 8” print of the same Cosmic Carpark painting on the guitar’s body, also hand-signed by Ed Sheeran.

Learn more at PRS.

The post PRS taps Ed Sheeran for limited-edition “Cosmic Splash” signature model – featuring the superstar’s own artwork on its body appeared first on Guitar.com | All Things Guitar.

VOX is marking the 25th anniversary of its Valvetronix series with the launch of two new hybrid guitar amplifiers: the VT20X and VT40X.

Described as a “bold evolution of the Valvetronix concept”, the new models are aimed at players who want the “authentic feel of classic tube amps” and the flexibility of modern digital modelling.

• READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

At the core of both amps is a redesigned hybrid architecture that pairs new modelling technology with a multi-stage tube preamp circuit. According to VOX, its new modelling algorithm goes beyond static tonal snapshots, instead recreating the analogue circuitry of some of the world’s most coveted tube amps at a “circuit level”.

This deep level of modelling allows players to adjust gain structure, switch between Class A and Class AB operation, and fine-tune amplifier bias in real time – resulting in more nuanced tonal shifts and a more realistic response under the fingers.

A 12AX7 tube is integrated further into the signal path than in previous Valvetronix generations, contributing warmth, natural compression, and that elusive “edge of breakup” sensitivity that responds directly to player touch and guitar volume. VOX says the result is smoother clean-to-crunch transitions and overdrive tones with the sag, bloom, and bite typically associated with vintage tube amplifiers.

Beyond amp modelling, the VT20X and VT40X include a selection of built-in effects inspired by classic stompboxes, allowing players to build complete rigs without relying on external pedals. Both amps are housed in sealed cabinets featuring VOX’s bass-reflex design, intended to deliver fuller low-end response and better projection despite their compact size.

As you’d expect, the amps are well equipped for modern use. Both feature USB connectivity, a built-in tuner, AUX input, and a headphone output for silent practice. The VT20X delivers 20 watts through an 8-inch speaker, while the VT40X ups the power to 40 watts and a 10-inch speaker for additional headroom. Both are finished in the series’ Classic Blue livery, complete with a split-front design and blue grille cloth as a nod to VOX heritage.

“With deeper tube integration, refined circuit-based modeling, expressive tonal flexibility, and practical player-focused features, the new VT20X and VT40X reimagine the hybrid amp experience for a new generation while staying true to the musical feel that made Valvetronix a favorite among guitarists worldwide,” says Vox.

The VT20X and VT40X are available now, priced at $279.79 and $399.99 respectively.

Learn more at VOX amps.

The post “A bold evolution of Valvetronix”: VOX pairs new amp modelling technology with the “authentic feel of classic tubes” in the new VT20X and VT40X appeared first on Guitar.com | All Things Guitar.

“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.”

• READ MORE: “My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar

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.”

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.

“…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.

“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.”

Angel is out now.

The post Unprocessed’s Manuel Gardner Fernandes names the viral shredders you need to watch in 2026 appeared first on Guitar.com | All Things Guitar.

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.

• READ MORE: 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

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.

The post Roland adds three more treasured Boss pedals to its Effects Pedals plugin appeared first on Guitar.com | All Things Guitar.

The NAMM Show 2026 is one of the hottest events in the music industry calendar, as thousands of brands descend upon the Anaheim Convention Center in California to showcase their latest products and innovations. And the big week has finally arrived…

The Guitar.com team is pleased to report that we’ve traded the grey skies of England for the warm Anaheim sun, as we head to NAMM to cover all the biggest guitar gear launches and announcements you need to know about.

The show floor officially opened on Tuesday, 20 January, and we’ll be here until Saturday when doors close trying to visit as many booths and nerd out on as much new gear as humanly possible. While also keeping you in the loop, of course…

And with that, we welcome you warmly to the official Guitar.com Live Blog, which will be updated regularly over the coming days with all the latest news from NAMM 2026 as it happens. Let’s go.

[live_timeline tag=”namm-2026″ first=”15″]

The post NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet appeared first on Guitar.com | All Things Guitar.