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Though a cult classic adored by millions, Back to the Future famously features a historical faux pas, which many guitar gear aficionados have been consistent in pointing out since the film’s release in 1985.

The mistake, specifically, is that Marty McFly plays a Gibson ES-345 during the iconic “Enchantment Under the Sea” school dance scene. Only that scene is set in 1955, when the ES-345 didn’t arrive until three years later in 1958.

• READ MORE: Online games have been doing it for years – are guitar brands cottoning on to the lucrative nature of crossover collaborations?

Of course, this is a debate for the very niche guitar-nerd subsection of the Back to the Future audience, but how much does it really matter? According to Michael J. Fox, who plays the film’s main protagonist, not all that much.

In his recent memoir Future Boy – released last month – Fox says the decision on the part of the film’s producers to call on a Cherry Red ES-345 for the scene was not intended to be a “cinematic Easter egg”.

The film’s art department simply picked the ES-­345 because it evoked the iconic wine-red axe that Chuck Berry famously duckwalked across stages all over the world,” Fox writes [via SlashFilm].

Fox himself wasn’t bothered by the historical inaccuracy himself, as he notes that the 1958 ES-345 was very enjoyable to play while filming.

“Both the ’55 and ’58 versions of the Gibson electric are rare and beautiful instruments; for me, it makes little difference which I played,” he says. 

“I’ve always loved the Gibson E line: big, imposing guitars yet hollow-­bodied and therefore lightweight. Even a little guy like yours truly could sling ’em and fling ’em and still make ’em sing.”

That the inclusion of a 1958 Gibson ES-345 in a film scene set in 1955 turned out to be largely irrelevant, as the scene quickly became a favourite in the cult classic movie.

Now, 40 years after the movie’s original release date, the scene continues to inspire, so much so that Gibson just released a $20k Custom Shop recreation of the Back to the Future ES-345, alongside a more affordable Epiphone version, too.

Astonishingly given its price tag, the Gibson Custom Shop Back to the Future ES-345 sold out its 88 units – corresponding with the film’s 88 miles per hour needed for time travel – in mere hours.

It later emerged, though, that scalpers had gotten their hands on some of the guitars, with one of the $20k guitars later listed on Reverb for over $100,000. Similarly, the guitar’s $999 Epiphone counterpart was being listed on the gear marketplace for up to $7,000.

“Less than an hour after the first Back to the Future guitars went up on Reverb, 10 had sold – and it hasn’t stopped there,” said Cyril Nigg, Reverb’s Senior Director of Analytics, at the time. “Over the past week, ‘Back to the Future’ has been the number one trending search on Reverb.

“What we’re seeing is part of a larger, nostalgia-fuelled trend, as moments from the past continue to drive demand. In fact, the Epiphone edition is the top selling semi-hollow body guitar on all of Reverb at the moment, as buyer demand continues to outpace supply.”

You can learn more about the Back to the Future Collection, which alongside the two guitars includes a line of BTTF-branded memorabilia, over at Gibson.

The post Does it matter that a 1958 Gibson ES-345 appeared in a Back to the Future scene set in 1955? According to Michael J. Fox, it makes “little difference” appeared first on Guitar.com | All Things Guitar.

Five-time Grammy-winning multi-instrumentalist Mark Lettieri has become the latest musician to open his own Reverb Shop, selling a trove of his very own studio- and tour-used gear.

The shop, which is now live, features many pieces of gear from Lettieri’s illustrious career, including unreleased PRS prototype guitars, and an early ’90s Fender Stratocaster he brought on his first tour with Erykah Badu, as well as on solo tracks including Grillman from 2011’s Knows.

• READ MORE: Black Friday has started early at Reverb… save hundreds on Charvel Superstrats, signature drive pedals and more!
  

Elsewhere, the online shop features instruments used by Lettieri during his time with jazz-fusion band Snarky Puppy, and when he played alongside David Crosby and Cory Wong.

“You’ve heard this stuff on records, you’ve seen it on gigs, in videos, and it all holds a very special place in my heart, but I’m finally letting it go…and I hope that you get it so that you can make music!” Lettieri says.

Aside from the aforementioned PRS prototypes and extensively used ’90s Fender Strat, up for grabs are also a range of gloss-finished PRS Fiore guitars – in Hibiscus, Black Hyacinth, Sunflower, and Purple Satin colourways – as well as an ’80s Ibanez Roadstar II with “a lot of vibes”, a “one-pickup wonder” ’80s Peavey Patriot, a Line 6 M9 multi-effects pedal used on Bob Reynolds’ Guitar Band album, and Lettieri’s first-ever Ditto Looper.

There’s also an Audio-Technica AT4040 cardioid condenser microphone used by Lettieri on “a thousand acoustic guitar tracks for people”. There’s also some non-musical memorabilia, including, of all things, a pair of “Deep: the Baritone” fish socks and more.

You can check out what’s on offer at the The Official Mark Lettieri Reverb Shop now.

The post Mark Lettieri launches official Reverb store – with a stage- and studio-used ’90s Fender Strat and a selection of unreleased PRS prototypes appeared first on Guitar.com | All Things Guitar.

Guitar tabs for Ed Sheeran’s music are searched for more than those of The Beatles, according to a new study.

Retailer guitarguitar has done some serious digging on what artists and tracks are inspiring players to pick up their guitar and learn by analysing the 5,000 most-viewed tabs and chord sheets on Ultimate Guitar. Sheeran has amassed 229.5 million tab views on the site, according to the findings, with his 2017 single Perfect being one of the most sought after.

• READ MORE: Paul McCartney reflects on legendary Japan drugs bust that landed him in prison: “This stuff was too good to flush down the toilet!”

But fear not Beatles fans, as their catalogue is still in demand too – the report [shared via Guitar World] also places the Fab Four in second place with 226.1 million tab views. Coming in third is pop megastar Taylor Swift with 167.8 million, and Metallica in fourth place with 125.9 million views.

When it comes to the specific songs that are most viewed, Sheeran’s Perfect lands at fourth place, with Jeff Buckley’s Hallelujah, Oasis’ Wonderwall, and Jason Mraz’s I’m Yours all ranked above.

Whether you’re a Beatle fanatic or dedicated Swiftie, there’s one thing that we can surely all agree on – it’s great that people still want to pick up the guitar and learn something new, no matter the genre. And as noted by guitarguitar’s marketing director, Adam Speck, many of the songs within this study are pretty easy to learn, meaning less frustration and more dedication.

“It’s no surprise to see artists like Ed Sheeran, The Beatles, and Taylor Swift leading the list, with their timeless songs that translate beautifully to guitar,” he says.

“From classic ballads like Let It Be to modern favourites like Perfect, these are the tracks people dream of being able to pick up and play. What’s really encouraging is that so many of these songs are completely achievable for beginners with a bit of practice.”

Sheeran champions music across the talks he gives at UK schools, and he often donates guitars to the students. Earlier this year during his appearances on the Call Her Daddy podcast, he said that music helped him to build his self-esteem, as he felt he “wasn’t good at anything” as a child.

“I’d love my legacy to be [that] any kid, anywhere, literally anywhere, goes, ‘I can do that too,’” he said. “Music is a thing for kids that aren’t good at other things, who don’t have a lot of self-worth or self-confidence…

“[Music] gives you so much worth and confidence in yourself as a human being and in school there’s so much importance put on, ‘You must be good at this subject [to] actually be a good human being and to go out in the world and achieve’, and I just wasn’t good at anything as a kid and I didn’t have a lot of self-worth because of that – I felt like I was stupid,” he confessed.

Head over to Ed Sheeran’s official website to view the full list of his upcoming tour dates. 

The post Ed Sheeran is inspiring more people to play the guitar than The Beatles, according to a new study appeared first on Guitar.com | All Things Guitar.

Gretsch has partnered with legendary London recording facility Abbey Road Studios on a limited-edition electric guitar, the Abbey Road RS201 Studiomatic.

Designed specifically for recording, Gretsch says, the RS201 Studiomatic’s signal path is literally infused with Abbey Road technology, with the integration of a circuit inspired by the RS 97 Rumble Filter. This classic piece of tech – designed in the 1950s by the EMI team at Abbey Road – aims to remove ultra low-frequencies and mechanical vibrations from recordings.

• READ MORE: The Tube Screamer’s original inventor teams up with TWA for the next evolution of his iconic drive pedal

The incorporation of this circuitry, the brand says, offers guitarists “unprecedented tonal control, retaining clarity in complex arrangements without sacrificing warmth”.

For a brief history lesson on the naming convention of equipment at Abbey Road Studios, the facility uses “RS” numbering to refer to equipment designed and built in-house by Abbey Road engineers. Notably, the RS201 Studiomatic marks the first time ever the “RS” numbering convention has been used on a musical instrument.

“Partnerships like this are the kind guitarists dream about,” says Max Gutnik, Chief Product Officer at Fender Musical Instruments Corporation (FMIC). Gretsch is one of many guitar brands owned by Fender.

“Gretsch and Abbey Road Studios share a legacy built on tone, feel and musical innovation. The Limited Edition Abbey Road RS201 Studiomatic was born from the idea of crafting a guitar that thrives in the studio: responsive, inspiring and sonically rich.”

Gutnik explains that “every detail” of the guitar was refined via close collaboration between Gretsch/Fender and Abbey Road Studios.

“The result is an instrument that invites players to explore new sounds while tapping directly into the lineage of recordings that defined modern music.”

“The evolution of this unique instrument has been a true collaboration between Gretsch and Abbey Road, driven by a shared desire to craft a guitar designed for mix readiness, sonic flexibility and great tone,” says Jeremy Huffelmann, General Manager of Abbey Road Studios.

“The RS 201 assignation is a testament to the technical innovation encompassed in this unique instrument, placing the Studiomatic in Abbey Road’s storied lineage of groundbreaking new technologies. It has been a joy to collaborate with our friends at Gretsch in creating the Limited Edition Abbey Road RS201 Studiomatic, and we couldn’t be more excited to hear the music it inspires in guitarists around the world.”

Aside from the onboard Rumble Filter-inspired circuitry, the RS201 Studiomatic sports a thin hollow-body build, as well as Filter’Tron pickups that are “both vintage-inspired and modern-voiced”.

Abbey Road Studios is one of the most iconic recording facilities in the world, giving its name to the classic 1969 Beatles album recorded there, as well as hundreds of classic records including Pink Floyd’s The Dark Side of the Moon (1973) and The Piper at the Gates of Dawn (1967), and the Beatles’ White Album (1968) and Sgt. Pepper’s Lonely Hearts Club Band (1967).

The Gretsch Limited Edition Abbey Road RS201 Studiomatic is priced at £1,249/€1,499.

For more information, head to Gretsch.

The post Gretsch partners with Abbey Road on RS201 Studiomatic – a recording-focused hollow-body guitar infused with Abbey Road-designed circuitry appeared first on Guitar.com | All Things Guitar.

Every guitarist has different preferences and needs. For some, the warmth of a tube amp and physical pedalboard can’t be beat. I once had a lecturer who took a deep sniff of a new pedal box – to each their own. For others, chunky gear, cables and potentially unreliable electronics can’t match the cleanliness and efficiency of a digital signal chain.

It’s by no means an absolute, and you can love both. On this occasion, I’m going to assume that if you’re reading this guide, there’s a part of you that falls into the latter camp. If you’re after a comprehensive look at amp modellers and sim pedals, be sure to read our previous guide on setting up a digital signal chain for home playing and recording. Absent from that feature was any mention of guitar plugins and the reason is simple – it’s a big subject.

If you’re already playing and/or recording guitar via a computer, feel free to jump ahead. If this is all new to you then stick around, because the next section is all about how you get your guitar and computer talking with one another.

How to play and record guitar on your computer

Connecting your guitar to your computer is relatively straightforward – it just requires a few essential components.

A fairly modern computer or laptop is essential. A decent amount of hard drive space will enable you to have multiple plugins and software ready to go. When paired with 16GB – 32GB of RAM, you’ll be able to smoothly run all software in tandem along with live playback and recording.

Next you’ll need a Digital Audio Workstation or DAW. This is the software that takes your guitar signal and allows you to record and edit it. It’s also what you’ll likely be integrating your guitar plugins into so that you can load them up quickly. Below are the most popular options, many of which come with a free timed trial or free feature-limited version:

• Logic Pro (macOS only)
• Pro Tools (Windows/macOS)
• Ableton Live (Windows/macOS)
• Cubase (Windows/macOS)
• Tracktion Waveform Free (Windows/macOS)

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Now for the crucial link – an audio interface. This is what takes the signal from your guitar to your computer and DAW. Focusrite’s Scarlett 2i2 and Audient’s iD4 are popular choices for guitarists, but we recommend researching based on your needs. Many audio interfaces will come with a ‘lite’ version of a DAW, such as Ableton Live Lite or Cubase LE, which kills two birds with one stone.

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Finally, make sure you’ve got some headphones and/or speakers. When playing and recording, any half-decent pair of headphones or speakers will do the job.

Now, before we dive into our list, there are a couple of important things to mention. Every free and paid plugin we’ve featured is compatible with both Windows and macOS. Excluding Guitar Rig 7 Player, each plugin will work in all major DAWs or as a standalone app.

For the paid guitar plugins, all of them have free trials available and they regularly go on sale, so while I may reference their affordability or premium pricing, they are discounted throughout the year.

Now that you possess everything you need to play and record guitar using your computer, let’s check out the plugins we think are worth experimenting with.

Our favourite free guitar plugins

Best for beginners: Native Instruments Guitar Rig 7 Player

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A feature-limited version of their pro version, Native Instruments’ Guitar Rig 7 Player is a fantastic starting point for free amp simulation and multi-effects. Out of the box, you’ll find two amp and cabinet sets, plus 26 creative effects and sounds.

Building your signal chain is intuitive with a drag-and-drop interface. When coupled with Native’s Intelligent Circuit Modeling (ICM), which mimics the behaviour of hardware through machine learning, Guitar Rig 7 Player does a great job of delivering realism and depth to the sounds you’re creating.

If you’re interested in trying your hand at music production, I’d recommend downloading Komplete Start – a free plugin bundle that includes Guitar Rig 7 Player along with so many other instruments, sounds and creative effects.

Best for customisation: Neural Amp Modeller

Download at neuralampmodeler.com.

Next up is Neural Amp Modeller, an open-source software that offers almost unlimited options for both digital amps and effects pedals. It’s built around the Snapshot plugin – a simple device that allows you to load in your favourite amp and effects pedal sounds, which have been captured and uploaded by the community.

You can also load IRs or Impulse Responses. These are what adds realism to the sounds as IRs capture not just the amp and cabinet sound, but the microphone placement and reverb of the space in which they were captured.

You will need to visit TONE3000 to download your chosen suite of amp and effects sounds, but otherwise, Neural Amp Modeller is an easy-to-use and endlessly customisable free guitar plugin.

Best all-rounder: IK Multimedia Amplitube 5 CS

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If you like the sound of what the Neural Amp Modeller offers, but want it pre-packaged, IK Multimedia’s Amplitube 5 CS may be for you. Much like Guitar Rig, this is a feature-limited version of the paid version, but you’re still getting a great selection.

Amplitube 5 CS comes with digital recreations of 10 stompbox models, six amplifiers, seven cabinets, four speakers, three microphones, six rack effect units and six room sounds. Many of these bits of ‘gear’ are modelled on iconic real-world equipment such as Marshall’s JCM800, Fender’s Deluxe Reverb, AKG’s 414 microphone and the Neumann U87 microphone.

Amplitube also integrates IK’s TONEX modelling software, which I’ll be talking about later in our best paid guitar plugins.

Our favourite paid guitar plugins

Best for beginners: Blackstar St. James Plugin

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Unlike the other plugins I’ll be covering, the St. James Plugin is a very lean package – recreating just the EL34 and 6L6 amps.

Featuring a super straightforward UI, pre and post-effects and CabRig, there’s a surprising amount of depth to the sounds you can create, from crisp cleans to modern metal. Mic positions can only be set on- or off-axis, but you’ll still have lots of opportunities for customisation.

In our review, Cillian Breathnach said, “The St. James still offers a lot of great guitar sounds for less than the price of a single hardware pedal. The fact that it includes two wildly different flavours of tube amp also means it’s an inherently versatile thing to have in your production toolbox, and for those who want to dip their toe into what amps can offer, it’s a pretty great initial overview.”

Best specialised plugins: Neural DSP Archetype and amp sims

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When it comes to digital amp sims, Neural DSP has cornered the market. Before the Quad Cortex, Neural began life with stellar amp sims and their acclaimed Archetype series.

To date, Archetype has recreated the classic tones of Tom Morello, Tosin Abasi, Cory Wong, Plini, Gojira and many more. From recreating an artist’s studio signal chain and effects, to capturing their visual aesthetic in the user interface, Neural’s Archetype plugins are the perfect companion for players wanting to sound like their guitar icons.

If you’re looking for more versatility, Neural has many excellent amp sims to choose from. In our review of the Mesa Boogie Mark IIC+ Suite, we said, “…if you are drawn by the convenience of a good amp plugin, but didn’t want to leave behind the experience of a real amp, this might be the best €99 you could spend.”

Best for official emulations: IK Multimedia TONEX

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IK Multimedia’s TONEX stands apart by recreating real-world gear, so if you’re keen on trying out official digital versions of Fender, Orange and Marshall amps – to name a few – this will be right up your street.

As well as playing with iconic amps, you can also capture the sounds of your own equipment. There are three tiers available ranging from €49.99 – €249.99. The ‘Max’ version opens up 1000 tones and unlimited access to user-created Tone Models via IK’s ToneNET user community. As I alluded to earlier, TONEX can be paired with Amplitube, so if you’re working with a smaller budget, you can still create a fairly robust setup.

In our review of TONEX ‘Max’, Darran Charles said, “…TONEX offers you the ability to profile your own rig, with the added bonus of a wealth of professional quality tones on offer, for a price that is vastly more affordable than the competition. Impressive stuff.”

Best value for money: Two Notes Genome

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Offering a focused set of virtual amps, cabs and pedals, Genome is both affordable and a great way to experiment without being overwhelmed.

We loved the clean and distorted sounds, not to mention the endless tweaking of the IRs. Creating your signal chain is super easy thanks to an intuitive drag-and-drop block system, and best of all, Genome has excellent third-party compatibility. This means that if you’ve been experimenting with Neural Amp Modeller, for example, you can load these amp/pedal captures into Genome and tweak them using its EQ and effects.

In our review, Cillian Breathnach gave Genome a 9/10 and said, “With a focused set of virtual amps, cabs and pedals, Genome’s streamlined approach makes it a very appealing option for an affordable ‘full signal chain’ plugin.”

Best for JHS fans: MixWave: JHS Loud Is More Good Collection

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Our final pick is a bit of an outlier in that its focus is on digital emulations of stompboxes, rather than amplifiers – though they have included one amp for good measure. The MixWave: JHS Loud Is More Good Collection may be a mouthful to say, but the package is simple: five digital JHS stompboxes and a recreation of the JHS/Milkman Loud Is More Good amplifier.

As expected, the pedals on offer here sound fantastic, with the Morning Glory and Hard Drive overdrives featuring a bonus clean blend control, which is absent on their physical counterparts. In addition to these two overdrives, there’s the Pulp ‘n’ Peel compressor, Panther Club delay and NÖTASPRING reverb. The amp sim isn’t quite as feature-rich and customisable, but is a strong pedal platform.

In our review, we said, “It’s not going to solve all your problems… but if you’re broadly happy with your existing sim setup and just fancy adding a few high-quality extras, there’s no harm in taking MixWave’s free two-week trial for a spin.”

The post Plugins baby – An essential guide to free and paid guitar plugins appeared first on Guitar.com | All Things Guitar.

One of Ace Frehley’s ‘Smoker’ Les Paul guitars, which was used during his final tour with Kiss, is being sold at auction.

Frehley used a number of Smoker guitars across his time with the band, with the first instance of him debuting the trick dating back to 1975. The model that is currently under the hammer has a sunburst finish and was used during his final Kiss shows between 1999 and 2001.

• READ MORE: “I owe not just an artistic debt to him, but a life debt to him”: Tom Morello on the genius of Ace Frehley

The auction is live now via Gotta Have Rock and Roll, and will run until 5 December. The unique axe also comes with photographs of Frehley with the guitar, as reported by Rolling Stone. Frehley originally used smoke bombs to create the effect, which he placed in the back cavity of his Les Pauls, but this later adaptation was modified to smoke from the neck pickup.

The visual stunts Kiss implemented into their shows didn’t always go smoothly, and Frehley looked back on some of their biggest mishaps earlier this year. He told MusicRadar in January that his rocket-firing guitar trick nearly once collided with bassist Gene Simmons.

“I fired one of those rockets at Gene and it almost fucking hit him,” Frehley recalled with a laugh. “It flew right by his head. It would have burned him pretty bad.”

He also mentioned the nifty smoke bomb trick: “I burned my leg real bad once back in the ‘70s, man,” he said. “A smoke bomb ignited too early inside the cavity of the guitar, and it melted the asbestos – which our fucking costumes were made from – to my thigh.”

Frehley sadly passed away back in October, and reports later revealed his cause of death as blunt trauma injuries to his head, sustained following a fall. A number of musicians came forward and shared their tributes to the Spaceman, including his former Kiss bandmates, as well as artists such as Nuno Bettencourt, Tom Morello, and John 5.

Last week (14 November), Kiss also honoured Frehley during an unmasked acoustic performance as part of their KISS Kruise: Land-Locked in Vegas three-day celebration. The striped back set marked their first live appearance together since retiring from touring in 2023, and included classics such as Beth, Hard Luck Woman, and Nothin’ to Lose.

Before the music began, Paul Stanley invited fans to raise candles as the band reflected on Frehley’s legacy: “Before we get going, we just wanted to take a moment to think about somebody who was at the foundation of this band. We’re talking about Ace. Why don’t we take a moment, a little quiet, think about him looking down on us – from [the planet] Jendell, probably – let’s have a moment for Ace. Candles up,” he said.

Head over to Gotta Have Rock and Roll to find out more about the Smoker guitar auction.

The post Ace Frehley used a guitar that produced smoke on his final tour with Kiss – and it’s headed to the auction block appeared first on Guitar.com | All Things Guitar.

$229/£219, warmaudio.com

Texas based Warm Audio have earned a reputation for quality sonic hardware – based on classic vintage designs – with a look that often scrapes painfully close to the originals. Cheeky, but we will allow it. In the case of the new Throne of Tone this means a double wide anger box bristling with no less than eight knobs, seven toggle switches, and a heavy 1990s blue on black Marshall aesthetic. Oh Lord.

• READ MORE: Chase Bliss Brothers AM review: “it could easily be the last drive pedal you ever buy”

Warm Audio Throne Of Tone – what is it?

As the name and visuals might suggest, the Throne of Tone is an amalgam of the Marshall Bluesbreaker pedal and the Analog Man King Of Tone (itself a modified Bluesbreaker at heart) – not only that but you can double up on either option or run one circuit into the other. I’ll explain.

Each half of the Throne of Tone is identical and offers volume, gain, tone and presence controls with your choice of either the Bluesbreaker or KOT voicing. This can be further tweaked with a choice of Boost, OD and Distortion textures and a High or Low gain stage. A top-mounted toggle switch allows you to swap the pedal order in your chain and there’s an internal effects loop too. Fun!

Warm Audio Throne of Tone – usability and sounds

Here’s the thing. For Warm Audio to be doing anything other than trolling classic IPs, this USA designed, Chinese made pedal had better be pretty bloody good. Time to plug in a Les Paul!

The lower gain grumble of a Marshall JTM45 combo in the hands of Eric Clapton inspired the original Bluesbreaker pedal in the 1990s, and Marshall recently rereleased the Bluesbreaker pedal. We can thank a certain John Mayer for that. Having owned an original I can confirm that this is all but identical in voice but the additional tweaks offered here are very welcome.

The KOT side of things is also extremely convincing – a little creamier and more detailed than the original Marshall unit as you’d hope.

The most interesting addition here is the presence knob, which is not available on either of the original units. And it makes a big difference – adding a slice of 500Hz-2.3kHz top end sizzle.

The gain stage elements are also very immediate and intuitive in use. In particular the high gain option takes us off into Soldano territory with corresponding pick squeal and feedback hilarity. Joyful.

Warm Audio Throne of Tone – should I buy one?

At its heart this pedal can be as simple or complex as you need it to be. If you want fuss-free low and high gain options from the same box then it has you covered. If your sonic desires lean more towards achingly precise timbral sculpture you will find that here too.

The fact that you can tweak both sides of the pedal and/or run them together makes this a very versatile and heavy hitting option. No doubt some players will still lust after an original Bluesbreaker pedal or sit on the KOT waiting list for years, and that’s fine too. But now, there’s this. And it’s very good indeed.

Warm Audio Throne of Tone – alternatives

Whether you’re talking about the Bluesbreaker or the King Of Tone, there are various options out there that don’t require a Reverb deep dive or a years-long waiting list. Marshall reissued the Bluesbreaker ($199), complete with original enclosure, a few years back and it was very good indeed. For the KOT, you’ve got options at both ends of the price spectrum – the MXR Duke Of Tone ($159) offers one half of the original and sounds impressively close. If you want another ‘enhanced’ take on the format – albeit one that’s made in partnership with the Analog Man himself – the Chase Bliss Brothers AM adds presets, an extra boost circuit and various other under-the-hood shaping options.

The post Warm Audio Throne of Tone review: “this pedal can be as simple or complex as you need it to be” appeared first on Guitar.com | All Things Guitar.

Hayden Pedigo performs “Long Pond Lily” from his 2025 album, I’ll Be Waving as You Drive Away at the Fretboard Journal.

https://www.instagram.com/amarillohighway/?hl=en

https://linktr.ee/haydenpedigo

The post Hayden Pedigo – “Long Pond Lily” first appeared on Fretboard Journal.

PRS Guitars today announced the PRS Fiore HH, a dual-humbucker version of GRAMMY® Award-winning guitarist, composer, producer Mark Lettieri’s signature model. An addition to the Fiore family, the Fiore HH offers a new configuration, changing from the original’s single-single-hum, to hum only. It is available in both gloss and satin finishes.

“For players who love the specifications and versatility of the original Fiore but whose sound revolves more around humbuckers, this is the guitar for you,” said Mark Lettieri.

With a swamp ash body, 25.5” scale length maple neck, 22-fret maple fretboard, and two-point steel tremolo, the Fiore HH offers another tonal platform for those searching for vibrancy, dynamics, balance, and clarity.

The Fiore-H humbuckers have enough power and punch for high-gain lead tones but with a smooth top end that allows the pickup to be played clean, even with the volume knob wide open. By pairing these pickups with a master volume, two push/pull tone knobs, and 3-way blade switch, the Fiore HH brings exciting voicing options to players. Each tone control acts as an individual series/parallel selector for each pickup. When in series, the pickups offer the full humbucker sound - warm full lows and mids and an articulate top end. When in parallel, the pickups take on more of a single-coil sparkle with a slightly scooped feel and more brilliance. In all, players can explore eight tonal combinations.

The original Fiore is still in the PRS Bolt-On Series catalog as well, in all of its single-single-hum glory.

For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.

Over the past year, Taylor Guitars has worked in tandem with talented artists across multiple genres to create instruments that reflect their unique musical styles — including GRAMMY winners Jacob Collier and Zedd.

As Taylor expands its acclaimed Gold Label series — first introduced in January 2025 — it’s only natural that the company has partnered with a beloved member of the Taylor family: Trey Hensley.

The powerhouse new Gold Label 510e dreadnought, Taylor’s first collaborative Gold Label guitar, channels Hensley’s signature style. The Nashville virtuoso, a longtime Taylor player who has wowed audiences and industry peers alike, is known for his fiery flatpicking and thoughtful songwriting.

The collaboration comes as both Taylor and Hensley are hitting new highs in their respective journeys. Named Guitar Player of the Year at the 2025 IBMA Bluegrass Music Awards (his second win after 2023), Hensley also won a GRAMMY for Best Traditional Blues Album in 2025 as part of the Taj Mahal Sextet. His 2015 album with Rob Ickes, Before the Sun Goes Down, earned a GRAMMY nomination, and he has collaborated with legends including Johnny Cash, June Carter Cash, Dolly Parton and Earl Scruggs.

A Guitar as Unique as Its Signature Artist

Hensley’s artistic fervor is matched by his enthusiasm for his new dreadnought. "I’m beyond honored to have my name associated with what I believe to be a perfect guitar,” says Hensley. “I’ve been a fan of the Gold Label Taylors since the inception, and to be able to work with Taylor on the introduction of a square-shoulder dreadnought into the Gold Label lineup is insanely cool!”

The new Trey Hensley Gold Label 510e celebrates Hensley’s artistry with aunique set of features, starting with a deeper version of Taylor’s classic square-shoulderDreadnought body shape. This model is crafted with back and sides of solid mahoganypaired with a torrefied Sitka spruce top. Fanned V-Class bracing delivers a warm, woodymidrange with outstanding power and sustain, especially in the low end. The long-tenonAction Control Neck offers enhanced resonance and allows fast, easy adjustability todial in the ideal string height for any scenario or playing style. Hensley helped fine-tune theguitar’s response, opting for medium-gauge D’Addario Nickel Bronze strings.

An Acoustic Voice Suited to a Broad Range of Players

The Gold Label 510e is designed around Hensley’s playing style like a well-fitted glove, but its inviting shape and classic sound possesses a broader appeal. “I believe every player at every skill level within every style will love this guitar as much as I do,” says Hensley. “It’ll excel at anything and everything. I’ve never played a better guitar than this new 510 Gold Label…thank you, Taylor, for knocking this out of the park!"

A key element to the model’s wide-ranging tonal allure: the guitar is outfitted with Hensley’s preferred pickup system for performance — the Baggs Anthem SL — combining an Element under-saddle piezo pickup with a TRU·MIC condenser microphone and an endpin preamp. The system includes a soundhole-mounted volume control for ease and simplicity. The result? A guitar ideally suited for the concert stage, with a natural, organic sound and user-friendly electronics.

Instilling Beauty in Every Detail

Blending Gold Label’s distinctive heritage-flavored aesthetic with understated elegance, this model features an Antique Blond torrefied spruce top that glows with warm, golden-brown hues. Other details include a Honduran rosewood Curve Wing bridge with bone pins, cream binding with black/white purfling, a matching rosette, and Crest inlays in cream. A double-layer pickguard (ivoroid and faux tortoise) and a Trey Hensley Gold Label interior label complete the look. And each guitar ships in a deluxe hardshell case with a British Cocoa exterior.

Together, Hensley and Taylor have meticulously crafted an instrument that delivers a fully satisfying experience in just about every way: feel, looks and tone. If you’re looking for a stage-ready workhorse to inspire your next live performance, or if you simply want to bond with a sumptuous guitar in your living room, you’ll find it in the Trey Hensley Gold Label 510e by Taylor.

The first 100 guitars will be offered as Special Edition models that include a certificate of authenticity hand-signed by Hensley.

For more information visit https://www.taylorguitars.com/guitars/acoustic/trey-hensley-gold-label-510e-se .

Spector unveils the Limited Euro LX Series, a striking new take on the beloved Euro LX bass formula. Drawing inspiration from the Spector Custom Shop, each bass features a maple fingerboard, adding brightness and that signature maple “pop”, a rarity for the Euro line. Other standout features include a matching figured maple headstock and three stunning gloss finishes.

Crafted with precision, these limited models boast a fully curved figured maple top with European alder back, paired with a neck-thru 3-piece North American maple neck and fingerboard, adorned with Spector’s signature Mother of Pearl Crown Inlays.

“This Limited Euro LX series is a celebration of our legacy and a bold step forward,” said John Stippell at Spector. “These basses combine the craftsmanship our players expect with fresh design elements that make a statement on stage and in the studio.”

At the heart of this bass is the Spector Legacy preamp, developed in collaboration with Darkglass Electronics. This preamp, paired with EMG pickups, captures the legendary “Spector growl” heard on countless iconic recordings, while offering modern tonal flexibility.

Available in four (34”) and five-string (35”) configurations, with three eye-catching gloss finishes – Black Cherry, Ultra Violet, and Black Stain – topped off with a matching headstock for a cohesive, high-end look. Gold hardware adds a touch of elegance, staying true to the classic Spector aesthetic.

The Black Cherry and Ultra Violet Limited Euro LX basses are available now at select authorized Spector dealers. The Black Stain basses are available exclusively at Sweetwater.

Experience a new take on a classic with the Limited Euro LX basses from Spector.

To learn more, please visit www.spectorbass.com

Street price:

$3,779.99 USD for 4-string models

$3,899.99 USD for 5-string models

10 Packs of Strings from Goldbird + 2 of the best damn cables you’ll ever use. Enter before December 2, 2025.

The Prize Package

One winner will receive 10 sets of strings form Goldbird and 2 cables of your choice from Best Damn Cable Co.

The Best Damn Instrument Cable

Durable as all hell and guaranteed to have people looking. Available in multiple different sleeving options with either straight or right-angled Neutrik connectors, the Best Damn Cable Co. is the industry standard when it comes to reliability.

Goldbird Electric Guitar Strings

Goldbird electric guitar strings are crafted from premium nickel-plated steel, giving guitarists a balanced tone with clear highs, punchy mids, and tight low end. Designed for durability and tuning stability, these strings hold up for dozens of hours of playing. That means more time making music and less time changing strings.

Epiphone has launched the Mike Dirnt Grabber G-3, a signature bass created in collaboration with legendary Green Day co-founder and bassist Mike Dirnt. This modern revival of the legendary Gibson Grabber G-3 pays homage to the instrument that helped shape the sound of punk rock’s explosion from the underground—including its iconic role in Green Day’s landmark 1994 album, Dookie, which recently celebrated its 30th anniversary.

Mike Dirnt continues to perform with his favorite, beloved bass, most recently on Green Day’s The Saviors World Tour in front of millions of fans.

The Epiphone Mike Dirnt Grabber G-3 is available worldwide in Silverburst finish at authorized Epiphone dealers, Gibson Garage locations in London and Nashville, and online at Epiphone.com. A Natural finish is also available globally, exclusively through the Gibson Garage, and online at Epiphone.com.

Known for his punchy bass lines, dynamic vocals, and electrifying stage presence, Dirnt has been a driving force behind one of music’s most influential and long-running bands. The new Grabber G-3 reflects his legacy with a design that blends classic construction and modern performance features.

Crafted with a double-cutaway maple body and a 34-inch scale three-piece maple neck, the Grabber G-3 offers smooth playability and solid resonance. Depending on the finish—available in Silverburst or Natural—players can choose between an ebony or maple fretboard, each adorned with black abalone dot inlays and 20 medium jumbo frets.

The headstock features the classic Grabber “V™” shape, paired with open-gear bass tuners and historic clover buttons. A bone nut enhances resonance, while the Leo Quan® Badass II™ bridge delivers powerful attack, sustain, and full adjustability. Strings run through the body and are anchored with ferrules on the back, contributing to the bass’s rich tone and lasting sustain.

At the heart of the Grabber G-3 are three Gibson G-3 pickups, handcrafted in Nashville, TN, at the Gibson Pickup Shop. Wired in a unique “buck-and-a-half” configuration, the pickups offer versatile humbucking combinations via a three-way toggle switch—neck and middle, all three engaged, or middle and bridge—alongside master volume and tone controls for a wide palette of noise-free tones.

The Epiphone Mike Dirnt Grabber G-3 bass arrives with a hardshell case, making it road-ready for studio sessions or global tours. Whether you’re a die-hard Green Day fan or a bassist seeking a bold, versatile instrument, the Grabber G-3 delivers the punch, style, and legacy of a punk rock legend.

The Epiphone Mike Dirnt Grabber G-3 bass carries a street price of $1299.00. The Silverburst finish mode is available worldwide. The Natural finish is available only through Gibson Garages and Epiphone.com.

Oh, another Tube Screamer clone? We know, big surprise. But this Tube Screamer isn’t a clone; it’s an evolution – and it was redesigned from the ground up by the Tube Screamer’s original inventor, Susumu Tamura.

While Tamura has worked on replica models of his original design, with Godlyke releasing the Tamura-Mod TS808 back in 2023, the TWA Source Code is something fresh. The pedal promises to be a “next-gen 808-style” overdrive wrapped in a sparkling green shell, re-imagining the pedalboard staple for a new era.

• READ MORE: Cause & Effects: Tube Screamer season has arrived – but why do guitarists love this pedal so much?

While the first Tube Screamer originally served as competition to Boss’ OD-1, it has made an indelible mark on guitar history, and remains one of the most sought-after overdrives on the planet. Now, the TWA Source Code is set to push the original pedal into a “new dimension” of tonal clarity, enhanced headroom and sonic richness, with a reimagined design consisting of not three, but four knobs.

The pedal consists of the usual Level, Drive, and Tone knows, but there’s a brand new Bite dial to toy with. As TWA explains, the dial allows you to adjust your balance of “even-order harmonics”, to achieve a whole slew of clipping “from smooth singing leads to aggressive, cutting drive”. Essentially, it that should allow you to muster tones and saturation not unlike a high-gain tube amp.

The amp-like feel is also heightened by the Magic IC OpAmp, while the multi-transistor input buffer ensures your guitar’s natural tone remains unscathed. The pedal also has top-mounted jacks and true bypass switching, making it easy and convenient to slot into your pedalboard or take out on the road.

In terms of headroom, the TWA Source Code can be run on 9V DC supply or battery, but it can also be pushed to take 18V if you’re keen for a little something extra. There’s also an onboard +6dB boost, if you’re wanting that extra kick without impacting your guitar tone.

If you’re keen to hear what the next evolution of the Tube Screamer sounds like, the demo videos are sure to do the trick. It sounds pretty ace, if you ask us.

The TWA Source Code is available to order now for £234, with plans to start shipping in mid-November.

The post The Tube Screamer’s original inventor teams up with TWA for the next evolution of his iconic drive pedal appeared first on Guitar.com | All Things Guitar.

With Megadeth’s final record set to drop next year, fans are expecting the band to go out with a bang – but they might be taking things a step further. In a new interview, Dave Mustaine has revealed that the ideal finale would see the band blasting off into the stratosphere.

Considering the band’s 40-year career has defined the face of thrash metal – and indeed the wider metal world – Mustaine’s ambitious plot would be one last push, taking the genre to bold new heights, literally. “I hope we’ll be playing up in space,” he tells Metal Hammer. “I think that will be a really fitting climax.”

Specifically, Mustaine has his sights set on a very particular stage – the face of the Moon. “I’m not talking about on the side of a vomit comet!” he insists. “A gig on the Moon, a full Moon landing. That would be cool.”

• READ MORE: Megadeth – Ride the Lightning CONFIRMED: “I wanted to pay my respects to where my career first started,” says Dave Mustaine

Of course, Mustaine joins a long list of artists hoping to pull off the first ever performance in space. Back in 2017, Metallica’s Lars Ulrich told SiriusXM Radio that the band wanted to be the first band to pull off a zero-gravity metal gig. If Metallica were to get up there, it would be another achievement to add to their belt; in 2013, they set a world record after performing in all seven continents within one year, including Antarctica.

Muse have also voiced similar dreams of an intergalactic performance. Rather unsurprisingly, frontman Matt Bellamy was very keen on the idea in 2011: “We’ve had some discussions about playing in space,” he told The Sun [via NME]. “I’m thinking of approaching Richard Branson to see if we could do it on his spacecraft.”

“I do think it will be possible in the future and I’m sure it will happen in my lifetime,” the Muse singer concluded. “We’d love to be part of that.”

While Matt Bellamy’s words are well over a decade old, we’re only just entering an era where space gigs might actually be within our grasp. Back in September, Ed Sheeran told BBC Radio 2 that he could have been the first artist to ever perform in space. However, he turned the opportunity down.

“I was offered to go to space a while ago… and it terrified me,” he explained [via The Independent]. “I want to go to space when it’s like flying to France and 40,000 people have done it – I don’t want to be a guinea pig. It’s still dangerous.”

“It was talk about doing the first gig in space… [but] I’ve got kids!,” he said. “I’m not going to risk that for a Guinness World Record.”

Megadeth, however, aren’t as worried about the risks. With celebrities like popstar Katy Perry jetting up to space, Mustaine is pretty sure it would be safe. “I saw they sent up a bunch of celebrities into space and I thought ‘Well, if them, why not me?’, you know?” he tells Metal Hammer.

Though, rest assured – Megadeth would eventually want to return to Earth after their grand performance. In the words of Sesame Street’s Ernie, Mustaine doesn’t want to live on the Moon. “Personally, I’d never want to live on a planet away from the world we live in,” he says. “People were talking about a trip to Mars, but all I can imagine is somebody suddenly going ‘Oh! I forgot my toothbrush!’ That would be the longest flight ever!”

Set to drop in January, Megadeth’s 17th record will be their last. The album is set to feature a cover of Metallica‘s Ride the Lightning – which Mustaine co-wrote alongside James Hetfield, Lars Ulrich and Cliff Burton in the ’80s. As for what other Easter eggs it may hold, only time will tell.

The album release will also be accompanied with a huge worldwide farewell tour – though there’s no confirmation of any out-of-this-world tour stops just yet.

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The band’s retirement was announced by their usually voiceless mascot, Vic Rattlehead. “For over four decades, I’ve been chained in silence, but the end demands my voice,” he explained. “It is confirmed, the next Megadeth studio album will be the last 40 years of metal, forged in steel, ending in fire, and when the New Year rises, the global farewell tour.”

“You’ve heard the warning, now prepare yourself, cyber arm,” he added. “Stay loud, stay tuned and meet me on the front lines.”

In a statement, Mustaine told fans “don’t be mad, don’t be sad, be happy for us all”. He welcomed fans to “celebrate” what the band has achieved over the years. “We started a musical style, we started a revolution, we changed the guitar world and how it’s played, and we changed the world,” he said.

“The bands I played in have influenced the world. I love you all for it. Thank you for everything.”

Megadeth’s self-titled final album will be released on 23 January 2026. For more information, head over to the band’s official website.

The post Dave Mustaine wants Megadeth’s last show to be in space: “I think that will be a really fitting climax!” appeared first on Guitar.com | All Things Guitar.

Ad feature with Elixir 

There’s an argument to be made that no company has been more influential and important in the guitar world over the last three decades than Elixir®. That’s a big claim, but one that holds up when you look closely.

Here in 2025, coated guitar strings are everywhere. Pretty much every major brand produces its own version of the technology – though Elixir remains the only one that fully coats the entire string protecting not only the outer string surface, but also the gaps between the windings.

But the reason other brands have followed suit is because Elixir Strings were so impactful that players now expect the benefits that come from a coated guitar string – Elixir showed that our strings can last longer, can sound better, they set the standard.

Elixir created that expectation, and it remains the master of string innovation to this day. Since the company’s first strings were launched, the brand has been relentless in pushing their revolutionary technology forward all the time, responding keenly to the needs and demands of real guitar players to produce better strings for every situation.

We’ve seen this with the company’s remarkable ultra-thin NANOWEB® Technology, which kept all the great features players loved about the traditional Elixir POLYWEB® Technology, while giving a less slick but a smooth, comfortable feel.

Then came the OPTIWEB® Technology for electric strings, which gives the strings a more natural feel to ensure you’re always in control of your bends and vibrato. While the feel of the strings may differ depending on the technology, a greater playability and corrosion protection remain unchanged.

Now, the brand is ready to change the string game yet again with the launch of its brand new Elixir® Attune Strings.

Guitarists are a complex and varied bunch – if you’re reading this you probably know that your tastes and preferences differ dramatically from the other guys in your band or at your jam night. There are no right or wrong answers – just different needs, tastes and use cases.

For the last three decades, a huge number of acoustic guitar players have found their home with Elixir Strings – the feel, tone and sound of the remarkable POLYWEB and NANOWEB Technologies are transformative enough that many players simply never go back after trying their first set of Elixir Strings.

But there are others for whom the Elixir tone and feel hasn’t quite meshed in the past – there’s something about traditional strings that they just prefer. But all that might be about to change.

The new Elixir Attune Acoustic Phosphor Bronze Strings offer the long life and corrosion resistance you’d expect from Elixir, but with a new voice and improved playability that challenges what was thought possible with coated strings.

The Attune Strings offer a crisp, clear tone and natural feel that will leave you wondering if you’re even playing a coated string at all. While many players love the slinky smooth feel of a POLYWEB Technology, the Attune Strings offer a firm and more traditional grip under the fingers, so you’re fully in control of your bends and vibrato.

But that’s not all – in addition to being the brand’s most natural-feeling strings yet, they’re also its most durable. The Attune Strings are capable of dealing with the most heavy-handed picking attacks with ease, with a tone that will outlast any other string on the market.

The Attune Strings aren’t meant to replace the POLYWEB and NANOWEB Technology strings in the market – millions of players have found their home with these strings and they’ll remain a part of the line-up. Attune is about offering the magic of Elixir Strings to a broader audience of players, so more of us can enjoy the benefits of longest-lasting tone.

The Attune Strings also speak to Elixir’s commitment to R&D and improving on their technology year after year. The brand says that its internal cycle of testing, refinement and testing is so rigorous that they may go through 100 prototypes to find the one that meets their high internal performance standards.

The Attune Strings are the proof of this commitment to excellence and innovation – bringing a game-changing new tone and feel to Elixir Strings that will win over new fans with a captivating playing experience that you know will last longer than any other. It’s what Elixir has done since 1997, and Attune shows they’re showing no signs of slowing down.

Shop Attune Strings at elixirstrings.com/attune

The post Everything you need to know about the game-changing new Elixir Attune Strings appeared first on Guitar.com | All Things Guitar.

€272/£299/$329, gamechangeraudio.com

Chorus is an effect that most people use to add subtle movement to a sound, like creating pretty ripples on a still pond. The Gamechanger Audio Auto Chorus wants to transform those ripples into rogue waves so intense they pose a danger to shipping – and it’ll let you automate the whole process with your playing.

• READ MORE: Gamechanger Audio Auto Delay review – a dynamic delay that lets you wire it up how you want it

So if you like the idea of a modulation pedal that can dramatically change its behaviour depending on how hard you hit the strings or how high up the neck you play, this could be for you… that is, as long as you’re prepared for some serious tinkering.

Gamechanger Audio Auto Chorus – what is it?

Perhaps you’ve already basked in the literary magnificence of my review of Gamechanger’s Auto Delay. This is essentially the same deal but with modulation.

So it starts off as a standard stereo chorus with controls for effect level, rate, depth and feedback, plus a couple of three-way mode switches: one for wave shape (up, down or sine wave) and one for modulation type (chorus, ensemble or flanger). Stick to the bypass footswitch on the right side and that’s more or less the whole story.

However, like the Auto Delay, this pedal has a patchbay in the middle and comes with a bunch of cables to stick into it. These allow you to set up dynamic effects when the left footswitch is engaged, morphing to secondary settings (selected via the four mini-knobs) when your signal crosses a threshold of volume or pitch. And that’s where things start getting weird.

Gamechanger Audio Auto Chorus – is it easy to use?

I was going to say yes, it’s easy enough… but then I watched a demo of this pedal on a YouTube channel with tens of thousands of subscribers and the guy clearly hadn’t understood it at all. So maybe not, then. If you’re easily thrown off by complex controls, you might struggle here.

The primary controls, as mentioned above, are straightforward. The more advanced stuff is not, but it’s really just a matter of getting your head around the ‘if this then that’ principle at the heart of the Auto Series. Once that’s clicked, it’s mostly quite intuitive – aided by the twin LED strips, and six handy diagrams of suggested settings in the manual.

There’s more to explore beyond that if you want to – notably external CV and MIDI control plus, included in the box, a splitter that allows the Auto Chorus to track a clean signal even if it’s placed after a bunch of other pedals in your chain. But let’s just get to the sounds, shall we?

Gamechanger Audio Auto Chorus – what does it sound like?

There are plenty of nice traditional chorus sounds available with the depth set low, especially in stereo, and you can also get close to pure pitch vibrato with the level at maximum. Things turn a bit clangy when you flip to ensemble mode, though – and even more so when the flanger gets its whine on. Maybe some sort of tone control would have been useful here to soften the edges?

Anyway the depth, rate and feedback dials are all capable of pushing deep into unhinged territory, and that’s where the patch cables come in handy – letting you go there only under certain conditions, before jumping straight back to normality. All you have to do is set up those conditions beforehand, using the relevant controls and cables.

As with the Auto Delay, this doesn’t always work out quite as well as you might imagine it in your head; but with Gamechanger’s suggested settings as a starting point, I did come up with a handful of dynamic effects that qualified as both unique and potentially useful. A woozy chorus that only comes on when you play above (or below) a certain volume level? A flanger that morphs into a freaky ring modulator when you hit a particular note range? Something like both of the above at the same time? It’s all in here somewhere.

Gamechanger Audio Auto Chorus – should I buy it?

If you’re looking for something that sounds just like your old Boss CE-2 or EHX Small Clone, don’t go anywhere near this thing – it will bite your leg. But if you’re keen to explore just how un-mellow the sound of a chorus pedal can be, and are prepared to spend a lot of time playing around with knobs and cables to get there, the Auto Chorus might just be worth having in your armoury.

Gamechanger Audio Auto Chorus alternatives

The Beetronics Seabee ($349/£409) is about as close as any other chorus pedal comes to this level of wildness. The Death By Audio Space Bender ($270/£319) is a fruity modulation pedal with an envelope-following option; and while it’s a flanger, not a chorus, the EarthQuaker Devices Pyramids ($349/£369) has some similarly kooky tricks in its locker, facilitated by a ‘trigger’ footswitch.

The post Gamechanger Audio Auto Chorus review – do you need dynamic modulation in your life? appeared first on Guitar.com | All Things Guitar.