Norse Guitar Feeds

When Thomas Ripsam took over as Martin’s CEO back in 2021, he had his sights set on the “future”. That “future” is already starting to take form; in 2024, the company released the ultra-sustainable GPCE Inception Maple, with its combination of domestic tonewoods and a unique internal architecture marking the dawn of Martin’s next era.

In a new podcast with Guitar Center CEO Gabe Dalporto, Ripsam explains how Martin is keen to utilise even more alternative, sustainable tonewoods in future. “We still rely on a lot of traditional and exotic tonewoods… but those tonewoods get harder and harder to source,” he explains. “That means they become more expensive… so we are constantly looking for alternative materials.”

• READ MORE: How Wheatus distorted an acoustic guitar to make Teenage Dirtbag an early 2000s classic

He points to ebony as a case in point. While the company has previously relied on ebony for its fretboards, certain models now boast Richlite fretboards instead. “We still use ebony, but we also use Richlite, which is an alternative,” Ripsam explains. “We are trying to use multiple paths… and we are [trying to] find new ways to use materials.”

Other changes have come in the form of multi-piece backs, like the D-35 and DH-28, with their respective three-piece and two-piece rosewood backs. Whether a multi-piece back affects your tone is up for debate, but it certainly wastes less wood and looks pretty cool. “Aesthetics are a big part of what gets you excited,” the Martin CEO says. “It’s not just about the tone and the sound.”

“I think we’re only at the beginning of what’s possible in coming up with with new designs,” he continues. “Like earlier this year, we introduced the CEO-11, which is a blue guitar. We don’t use blue that often, and I love colours… there were a lot of people who provided feedback [saying] they were totally enamoured with the blue.”

When Guitar.com spoke to Ripsam back in 2024, he explained how the GPCE Inception Maple was just the beginning. “It’s a very exciting guitar for us,” he said. “And it’s the beginning for us to actually do more around the use of domestic tonewoods and alternative materials.”

“I think what’s really cool about this guitar was, we didn’t just use our established models and slap domestic tonewoods on it,” he later added. “No, we actually really thought about the particular sound and what we need to do about the inside of the body to bring out the tone and the sound that we wanted. So it has skeletonised bracing, and sonic channels – a couple of features that we’re very excited about.”

“This is the beginning of a line of more of these types of guitars,” he noted. “That doesn’t take away from anything – people still can get their standard models! But I think this just adds to the palette.”

The post Martin CEO says “we’re only at the beginning of what’s possible” with new guitar designs appeared first on Guitar.com | All Things Guitar.

PRS Guitars made several announcements today that touch nearly every segment of its product offering. Along with the DGT Semi-Hollow becoming a permanent part of the Core Series catalog, the S2 Series gets a dual-humbucker, tremolo version of its offset staple, the Vela. Additionally, the Archon Classic 50 amp (launched in April 2025) now comes in a convenient, combo format for 2026. Rounding out the launch, PRS has made specification updates in the SE Series designed to add even more PRS DNA to the line, and of course there are several color updates across the catalog as well.

NEW MODELS

DGT SEMI-HOLLOW

Born from more than 20 years of collaboration between PRS Guitars and David Grissom, the DGT (David Grissom Trem) Semi-Hollow is based on one of David Grissom’s personal Private Stock guitars. It carries all the core features of the PRS DGT, including the wood selection, 22 frets, 25” scale length, the signature DGT neck shape, and jumbo frets, while adding the unique resonance and dynamics of a semi-hollow body. Equipped with custom-voiced DGT pickups, dual volume controls, and push/pull tone control, this model delivers a vintage-inspired voice.

"For me, the DGT Semi-Hollow has been a super versatile companion to my solidbody DGTs. The semi-hollow design has a bit warmer top end, a little less bottom than the solid body, and I can get more controlled feedback. I’m glad it’s officially joining the PRS lineup after a couple successful limited runs,” said David Grissom.

S2 VELA HHT

The PRS S2 Vela HHT takes the beloved offset staple and gives it a more modern edge with dual humbucking pickups and a tremolo bridge. With a pair of DS-01 humbuckers, the Vela HHT brings a full range of tones from the Vela’s signature sparkling cleans to a slightly more powerful, beefy low end. The Vela HHT also delivers an overall sharper attack, thanks to the humbuckers' exposed pole pieces. This model comes equipped with a push/pull tone control, allowing players to tap the humbuckers for expanded tonal range.

NEW AMP: ARCHON CLASSIC 50 COMBO

The Archon Classic 50 Combo is a grab-and-go format, two-channel amp that retains the voice, reliability, and power of the Archon Classic 50 head. Outfitted with a 12″ Celestion V-Type speaker, the PRS Archon Classic 50 Combo features an intuitive control layout with 3-band EQ, individual channel Volume and Master volume controls, Bright switch, and global Presence and Depth. For players looking to add a pedal board, this combo provides ample headroom and a built-in effects loop.

UPDATED SE APPOINTMENTS

For 2026, many PRS SE Series models will come standard with PRS’s proprietary Wing Buttons. This button design started all the way back in 1982 when Paul drew his first full guitar, and is meant to echo the 12th fret bird wingspan. While these new tuners are an aesthetic update, the primary reason for the change is tonal. Because these buttons are lighter in weight than their metal predecessors, they are subtracting less energy from the vibrating strings, thus helping the guitar ring longer and at a more musical note.

2026 also brings “sloped” pickup rings on all applicable SE Series guitars. These rings hug the pickups for a more polished look, elevating the aesthetic of the PRS SE Series once again.

NEW COLORS

The Silver Sky adds two new satin colors to its Maryland model: Black Plum and Mojave Brown. The SE Zach Myers is now offered in a second color: Elderberry Burst. The color palette across multiple series is now more expansive, with several options offered on a larger array of models. All model product pages are updated to show the full line of available colors.

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

Lab Series amps, Orange CR120s, and that little knob inside his Strat.

Ty Tabor is one of those players whose unique tone has melted more message boards than you can shake a Strat Elite at, and whose lifelong commitment to solid-state amps is downright religious in its fervor.

The Axe Lords show no mercy in their inquisition as they compel Tabor to break down the classic King’s X rig and ooh and ahh as he explains how transistors force a different kind of playing. We also talk about how Tabor succumbed to tube temptation on Dogman — a move that almost gave a young Tom Beaujour a nervous breakdown, how he “floats” between major and minor, and what he’s fixing most often as a mastering engineer.

The episode ends on a more personal note as Ty shares how a serious accident derailed his ability to write music for years—and how he’s finally feeling those neural networks repair themselves as he works on a long-delayed solo album.

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

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

Follow Ty @tytabor and KingsX @kingsxofficial

VOX announces new additions to its iconic AC amplifier family: the AC15 Hand-Wired Greenback and the AC30 Hand-Wired Greenback. These new models are designed for players who want the unmistakable character, touch sensitivity, and harmonic depth associated with classic VOX amplifiers, while offering a warmer, mid-forward tonal profile and earlier speaker breakup thanks to their Celestion Greenback configurations. Built with vintage-accurate circuits, meticulously hand-wired construction, and refined modern functionality, the new AC15 and AC30 Greenback versions give guitarists a bold alternative voice within the revered AC lineup.

The AC15HWR1 Greenback model continues the legacy of the original AC15, delivering the distinctive chime, saturation, and feel that shaped generations of music, but doing so with a bolder and more grounded edge. Its EL84 power section and carefully voiced phase inverter distortion work together to produce the signature blend of clarity and harmonic richness that defines the AC15, while the Celestion Greenback speaker introduces faster breakup, warmer mids, and a tighter low end that players can push into expressive British overdrive more easily. The hand-wound output transformer, vintage-inspired power supply sag characteristics, and 12mm birch ply cabinet all contribute to its resonance, compression, and authentic response under the fingers. The familiar Normal and Top Boost channels remain, offering everything from warm thickness to refined chime, with a BOOST function unique to this model that adds midrange growl and more gain to drive the Greenback more assertively.

The AC15 Hand-Wired Greenback version is not intended as a simple reproduction; it is a tribute refined for modern demands. Updated functionality includes a master volume for better control, a transparent FET-buffered effects loop that can be fully bypassed when not needed, and a tube-driven spring reverb powered by its own dedicated circuit and output transformer for correct impedance and tonal integrity. The reverb’s Level and Tone controls allow players to blend depth and presence without masking the amp’s core sound, while the overall design preserves the musical compression and touch response associated with early 1960s VOX amplifiers, but without the instability or noise often found in vintage units. With 15 watts of EL84-powered output, the AC15HWR1 is suited for studio environments and small to mid-sized stages, and its earlier speaker saturation helps players reach the sweet spot at more manageable volumes, with the option to connect extension cabinets or attenuation devices when required.

Alongside it, the AC30HWR2 Hand-Wired Greenback version brings the same philosophy to one of the most influential amplifiers in history, offering the familiar feel of the AC30 while presenting it with a warmer tonal emphasis and a slightly darker midrange character. Like its 15-watt counterpart, its sonic identity is rooted in the EL84 power section and the subtle harmonic bloom generated as the phase inverter is driven harder. In this configuration, the twin 12" Celestion Greenback speakers reshape that response slightly, trading some of the traditional top-end brilliance for stronger midrange presence, smoother overdrive transition, and an authoritative yet focused projection that makes it particularly compelling on stage and in the studio.

The AC30HWR2 also features a custom-wound output transformer developed to recreate the harmonic behavior of original 1960s units and a 12mm birch ply cabinet that supports the amplifier’s natural openness and resonance. The Normal channel delivers thickness and warmth with the choice of added brightness, while the Top Boost channel keeps the trademark VOX chime but responds with increased control at lower volumes thanks to the Greenbacks’ earlier breakup. As with the AC15 model, its spring reverb is driven by a dedicated tube circuit with its own output transformer to keep clarity and proper impedance, while Level and Tone controls allow musicians to tailor its depth in the mix. A transparent, FET-buffered effects loop integrates modern pedal setups without compromising tonal integrity and can be bypassed entirely when a straight signal path is preferred.

With 30 watts of British tube power and dual Greenbacks, the AC30 Hand-Wired Greenback version has the headroom, authority, and dynamic response expected from an AC30, but reaches its saturated tones at more practical live volumes, offering a compelling alternative to traditional configurations. Both new models are designed for players who value the unmistakable feel of vintage VOX amplification but appreciate enhanced reliability, tonal control, and a different expressive character shaped by the Greenback speaker voice.

The AC15HWR1 and AC30HWR2 Hand-Wired Greenback versions mark an evolution of two legendary designs, preserving their heritage while offering guitarists a new way to experience classic VOX tone. For full specifications and other information, please visit NAMM Booth #6802 or online at www.voxamps.com.

Street price:

AC15HWR1 $1799.99 USD

AC20HWR2 $2499.99 USD

Norman’s Rare Guitars has been acquired by Carter Vintage Guitars and TNAG Global. The sale will see Carter Vintage Guitars acquiring more than 1,000 guitars, as well as Norman Harris’s personal collection, which he’s has been assembling for over 50 years.

Harris has been quite vocal about his desire to find a successor for his collection. In a 2024, a Norman’s Rare Guitars documentary saw the owner opening up about a slew of health scares, including a bout of cancer and a more recent heart attack. As a result, he’s been considering his legacy.

Time and time again, Harris has hinted that Joe Bonamassa was his first choice to inherit his collection. “For years, he’s been saying to me, ‘I want you to take over the store,’” Bonamassa revealed in the Norman’s Rare Guitars documentary. “But I have a job already.”

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“The problem is, if Norm’s not there to run it, then it’s just a namesake,” he continued. “It would just be a brand. When you take him away, you take away the heart and the soul. It wouldn’t be the same. There’s only one Norman Harris.”

In light of the news, Bonamassa has also shared his best wishes for the shop going forward. “I am extremely excited to see my Uncle Norm enter into this new chapter of his life and career,” he writes on X. “We all know that he will still be around being the master of ceremonies and dealing the coolest guitars in the world.”

“Congratulations to my friend Ben and the entire team at Carters Vintage on securing the legacy of the greatest guitar store in the world,” he continues. “With that said, you all can stop asking me if I am buying it now!”

I am extremely excited to see my Uncle Norm enter into this new chapter of his life and career. We all know that he will still be around being the master of ceremonies and dealing the coolest guitars in the world. Congratulations to my friend Ben and the entire team at Carters… pic.twitter.com/GOJL5J9vUM

— Joe Bonamassa (Official) (@JBONAMASSA) January 14, 2026

In a statement, Carter Vintage Guitars’ CEO Ben Montague is adamant that the acquisition will preserve the spirit of Norman’s Rare Guitars.

“To put it simply, our mission is to protect what makes Norman’s special,” Montague insists. “As we have with Carter Vintage Guitars, [we want to] preserve its legacy, and guide the business into its next chapter while expanding its reach to a global community of guitar players and collectors.”

As a result, the acquisition will see little changing about how Norman’s Rare Guitars operated. It will continue to have a home at its iconic San Fernando Valley location, with the same team, and Harris will also remain “actively involved” in Norman’s Rare Guitars operations.

“I’ve always known there would come a time when I needed the right long-term partner to carry Norman’s Rare Guitars forward,” Harris himself reflects. “I couldn’t imagine a better steward for the shop and its legacy than Ben Montague and TNAG Global.”

“The goal has always been to share my love of great guitars with the community, and this partnership allows that community to grow, while protecting everything that makes the shop special. I feel a deep sense of comfort knowing the shop, its history and its values will still be here for future generations of my family and for guitar lovers around the world.”

For more information, head to Carter Vintage Guitars.

The post “You all can stop asking me if I am buying it now!”: Joe Bonamassa weighs in on the sale of Norman’s Rare Guitars appeared first on Guitar.com | All Things Guitar.

“It was the first solo I cut on the album, and I was on the spot,” says guitarist Steve Lukather, speaking about his seismic, jaw-dropping lead run on Toto’s debut single, Hold the Line. “I was 19 years old, and I was scared shitless. I was in the studio with my guitar cranked to 10, and all of these guys were behind the glass looking at me like, ‘You better bring it, kid.’ They counted off four bars, and off I went.

“I had no idea what I was doing. I thought to myself, ‘If I fuck this up, I’m over.’”

• READ MORE: How Wheatus distorted an acoustic guitar to make Teenage Dirtbag an early 2000s classic

Given the circumstances, Lukather’s nervousness was understandable. It was 1978, and he was a relative newbie held to scrutiny by the watchful eyes and ears of the LA session scene crème de la crème. “Jim Keltner was there, so was Waddy [Wachtel] and Kootch [Danny Korthmar],” Lukather remembers. “I’m sure they were all going, ‘Who’s this young punk ass? How did he get in here? He must’ve jumped the line or something.’”

A couple of Lukather’s friends were there, too, namely keyboardist-singer David Paich and drummer Jeff Porcaro. The guitarist had played with them a year before on his first big-time tour backing up Boz Scaggs, then riding high with his smash album Silk Degrees (half of which featured songs co-written by Paich). At the conclusion of the tour, the three, along with fellow Scaggs’ alumni, keyboardist Steve Porcaro (Jeff’s brother) and bassist David Hungate, talked about playing together again.

Line In The Sand

Hold the Line would prove to be an important song for Toto; in many ways, it wouldn’t be untrue to say that it was a catalyst for the formation of the band. “I was invited over to Paich’s house, and some of the other guys were there,” Lukather remembers. “David had a spinet piano, and he started playing the song. We didn’t have our instruments with us, but we were rocking out. He played me the riff on the piano, and I could hear how good it would sound on guitar. It was exciting. Jeff looked at me and went, ‘Yeah, man, that’s the shit!’ We all knew it had something. Some songs aren’t there at first. This one was. It kickstarted us being in a band.”

And so it was on that fateful day in Studio 55, when Lukather, gripped with fear and eager to prove that he had the right stuff, let loose with a spontaneous one-take wonder that combined impeccable phrasing and flamethrower intensity. When he was done, he looked at the folks behind the studio glass and asked, “Am I still in the band?”

“I wanted to be in the band so bad,” he says. “I was young and hungry. I mean, as far as I was concerned, this was the ultimate band. It was insane. And [singer] Bobby Kimball was a firecracker of a human being. Being near him was like sitting next to an M-80 – he was a big presence. That voice of his could break glass. Boy he could sing.”

The solo – like the song itself – sounds so well composed.

“We got in the studio, and everybody played the right part the first time,” he remembers. “I think we did two or three takes – that was the record. There were no demos. All the sessions we did, there were no demos or rehearsals – for anything. It was just a guy or a gal playing an acoustic guitar or piano, and we’d go, “Okay, there’s a chord chart.” We’d make little notes and come up with our own parts. After that, it was a question of where we gonna take it.”

Did David have the lyrics written out?

“Probably. He’d come into the studio with finished songs.”

That powerful rhythm guitar crunch – where did that come from?

“That’s what I brought to the band. Truth is, it was the most obvious part to play. I mean, it wasn’t like, “Wow, that’s genius.” I was just following the bass and piano part. Now, in doing that, it toughened things up. It wasn’t going to be just a little pop song. Jeff dug in with his drums a little harder than he would have on some other session. We were just discovering who the hell we were.”

Were you using a Les Paul on that?

“Yeah, that was a Les Paul. I may have just bought a 1958 goldtop. I did the main track on a ‘71 Deluxe burst, and when I overdubbed the solo, I think I played the goldtop. I think. It was a little bit ways back.”

Do you remember the amp?

“Absolutely. I was using a Fender Deluxe Reverb modified by Paul Rivera. I bought it off of a buddy of mine. Oh, I loved the amp so much. I begged him for it. He sold it to me for a couple hundred bucks – God bless him.”

Was it always known that you would play a solo in the song?

“The solo was built in. Paich was like, ‘Oh, you’re going to solo over this section’. I said, ‘Oh, wow.’ I was in the hot seat. It was one take until the very end when I did the harmony guitars. Dave insisted on that – ‘I want that Queen-Boston thing.’ For that, he punched me in and I played the first harmony, and then I doubled it. We did it as a three-part thing.”

Let’s drill down a bit. So you knew there would be a solo, but you didn’t plan it out at all, even a little bit?

“No! It was like, ‘Go. Play. Now.’ It was improvised. The solo was one take out of fear.

You made quite an entrance at the start of the solo. You must have known you had to come on strong.

I played something like that, and the rest was a stream of consciousness. I flubbed one thing at the very end, and Paich said, “Don’t worry about it. I was going to make you do that again to put the three-part harmony in there.”

Were you happy with what you played? After the one take, did you say to the guys, “I think I can do it better”?

“No. I was just hoping I was still in the band. [Laughs] I mean, we all mess up. Everybody thinks, ‘one take’, but I mean, when I was young and cocky and confident, I could go in there and nail it. I was sure I could. I already knew I could nail it before I nailed it. I wasn’t an asshole about it, but I knew inside myself, ‘I’m going to bring this. I’m going to be one of those guys that gets one or two takes and it’s done’. I would do that.”

I understand that you ran around the house in your underwear the first time you heard the song on the radio.

“That’s true. I was in my first house with my first wife, Marie. The album had just come out, and back then there were two stations we listened to – KMET and 95.5 KLOS. Those were our local rock stations when we were in high school. They kept saying, ‘You’re going to be on sometime.’ Oh, man, that was the dream. I got a call from Paich – ‘Turn on 95.5 right now!’ I’m in my underwear, I had just woken up. I turned on the radio and started screaming. Of course I’m dancing around the house in my underwear. Who wouldn’t? We were on the radio.”

What was it like to hear the sound of your guitar on the radio? I imagine the EQ might have sounded strange at first.

“It was surreal – the dream had come true. But you know what they changed the most? They cut the solo the fuck out to make it shorter so it could be on AM radio. They cut it out like it never happened. I remember being in my car going, ‘All right, we’re on the radio!’ Then it gets to the end and I’m like, ‘What?’ That’s what stations did. Most of the time, they played the whole thing.”

Has Toto ever done a show without playing Hold the Line?

“No, man. I mean, there’s certain things you have to do. I don’t play the solo exactly like on the record because I’m too lazy to learn it.”

You even play the song with Ringo and his All-Starr Band.

“Well, that was scary. They made me sing it, and I had to lower the key and everything. I have [saxophonist-singer] Warren Ham cover the really high bubble parts. I’m not a lead singer per se, but at least I’m not lip syncing it. You know what I mean? Nobody’s perfect. That’s the whole thing about fakery – people expect it.”

What’s it like to turn around to see Ringo Starr playing one of your songs?

“That never gets old. Never, ever.”

The post “I thought if I f**k this up, I’m over” Steve Lukather on Toto’s Hold The Line: his ultimate guitar solo appeared first on Guitar.com | All Things Guitar.

Trace Elliot® introduces the Trace Elliot Overdrive pedal. Overdrive is by far the most popular category of pedals on the market - and for good reason. With just a simple twist of a knob or push of a button, the colors and character of a player’s tone can completely change leading to endless inspiration and fun. But there is an obstacle for bass players. The lower notes on a bass guitar can often get muddy and lose definition. Thus, extra care needs to be taken in the circuitry and features. Trace Elliot believes they have solved the problem.

As a pioneer in bass amp innovation, Trace Elliot aims to set the standard in all bass overdrive pedals to follow. With true bypass operation, this pedal offers classic full range overdrive specific for bass guitar. The proprietary high overhead soft asymmetrical clipping circuit really contributes to the pedals overall performance creating that vintage, tube-like drive. The pedal has four knobs to help players dial in their tone. The DRIVE controls the amount of overdrive on the signal. The LEVEL control dictates the overall output volume of the pedal. The TONE control is a basic EQ helping players define their overall tone and the BLEND control allows players to mix the clean and overdrive signal. This pedal is also equipped with an internal transformer to give more headroom to the signal ensuring better quality of tone- especially on those lower frequencies.

Alongside the traditional ¼” input and outputs is a separate DRY OUT that helps this pedal standout amongst other overdrives. By offering the player a separate DRY OUT, the player can send the dirty signal to a separate amp while sending the dry signal to either front of house or an effects chain for maximum flexibility in tone. As with all things Trace Elliot, the pedal is built for long lasting durability and performance.

For more information, please visit www.TraceElliot.com

Street: $199.99 USD

Bad Cat Amplifiers has released the new Hot Cat 50, the latest evolution of its flagship high-gain amplifier platform, available in a 1x12 combo or amp head format.

For more than 25 years, the Hot Cat has been Bad Cat’s go-to amplifier for professional players who need powerful clean tones and authoritative high gain in a single, road-ready design. The new Hot Cat 50 builds on that legacy with a redesigned 50-watt power section, expanded EQ flexibility, two fully independent channels, and switchable Lo and Hi gain modes.

“Our goal was to make the cleans bigger and bouncier, like the older Hot Cats, while at the same time making the dirty channel bigger and more visceral than any Hot Cat before. We feel it sets a new benchmark for what a channel-switching amp can be,” said Jon Bingham.

Positioned alongside the company’s Black Cat 30, which focuses on classic, expressive tones, the Hot Cat 50 is designed for players who demand wide dynamic range—from bold, glassy cleans to aggressive crunch and modern high-gain sounds.

The clean channel delivers American-style clarity and headroom in Lo mode, with added bite and bounce in Hi mode for country and roots-rock lead work. The second channel draws inspiration from classic JCM-style circuits, offering punchy 1980s rock tones in Lo mode and tighter, more aggressive gain in Hi mode for modern hard rock and metal.

Additional features include an onboard reverb, effects loop, direct line out, and included two-button footswitch, making the Hot Cat 50 a complete centerpiece for stage or studio rigs.

The Bad Cat Hot Cat 50 combo carries a $2699.99 street price and Hot Cat 50 head is available for $2499.99. For more information, visit badcatamps.com.

KORG announces the new microAUDIO series, the compact yet powerful microAUDIO 22 and microAUDIO 722 audio interfaces for creators working in studios, onstage, or online. Designed to bring studio clarity straight to the desktop, the series arrives to meet the growing demand for high-quality sound in a portable format, giving musicians, streamers, and producers professional results without complexity. The two models deliver this through KORG’s studio-grade engineering, advanced preamp design, and modern creator-focused workflow, ensuring users can capture, shape, and share their sound with confidence.

Compact in form yet generous in capability, the microAUDIO series combines premium sound with a clean and intuitive layout. Both models support 24-bit/192kHz audio and feature balanced inputs and outputs, offering pristine, open sound with striking depth and ample headroom. The preamps are tuned for musical gain with minimal noise, prioritizing clarity while avoiding excess circuitry so every nuance of a performance—whether detailed vocal recording, layered synthesizers, or live performance playback—is faithfully preserved.

Each channel provides mic, line, and Hi-Z connectivity with 48V phantom power, together with assignable processing tools including a Noise Gate and either a Compressor or Limiter designed for smooth, musical gain control with minimal noise. These processors are not limited to input sources, as they can also be applied to audio returning from a connected computer. Front-panel controls keep essential parameters within immediate reach, while zero-latency direct monitoring ensures precise performance feedback. The headphone output can be assigned independently from the main outputs, enabling routing such as click-track-only monitoring or cue listening with DJ applications, and the Stereo Link function allows paired channels to be adjusted simultaneously from a single control. These workflow decisions keep the technical processes streamlined so creative focus remains uninterrupted. These expanded routing and processing capabilities are scheduled to be added in version 1.01 of the microAUDIO firmware, planned for release in February 2026.

Built for modern creation environments, microAUDIO includes a loopback mode that feeds computer audio directly into a livestream or DAW without complicated setup, making it ideal for streaming, sampling, and content capture. USB-C connectivity allows seamless use with smartphones and tablets, supporting mobile production as easily as traditional studio workflows. Whether recording at home, performing live, or streaming online, the series adapts to the demands of today’s creators and delivers consistent, professional sound.

The streamlined microAUDIO 22 focuses on essential performance for beginners, hobbyists, and creators who want high-quality audio in a straightforward interface with no unnecessary complexity. The microAUDIO 722 extends the concept into new creative territory by integrating KORG’s iconic analogue filter from the miniKORG 700S directly into the interface. This transforms the unit from a simple recording device into a hybrid creative tool capable of shaping tone in ways digital processing alone cannot replicate. The filter may be used as a standalone analogue processor or integrated into DAW workflows, and it can bring expressive movement and character to guitars, basses, digital synthesizers, and more. It offers Low-Pass, High-Pass, and Bypass modes, can process both live inputs and computer-based audio, and its MIDI In/Out connectivity allows automation, synchronization with external hardware, and hybrid digital-analog performance setups.

Exclusive to the microAUDIO series, KORG also introduces Filter Ark, a next-generation filter plugin that extends the creative potential of the hardware into the software environment. Filter Ark recreates legendary analog filters from the MS-20, Polysix, miniKORG 700S, and ARP Odyssey while adding new models including physically modeled resonators and vowel-based filters. Up to four filters may be routed in series, parallel, or feedback configurations, with morphable LFOs, sequencers, macros, and scale-aware control enabling expressive sound design that treats filtering as a musical performance tool.

To ensure users can begin creating right out of the box, microAUDIO includes a comprehensive software bundle featuring Ableton Live Lite, Native Instruments Komplete Select, and iZotope Ozone Elements, covering the complete journey from composition and recording through mixing and mastering. Both models provide 2-in/2-out operation with two preamps, two combo microphone/line/Hi-Z inputs, two DC-coupled TRS outputs, a headphone output, and USB-powered operation via USB-C or dedicated DC adapter, with MIDI I/O available on the microAUDIO 722. The microAUDIO 22 measures 150.0 × 128.0 × 68.0 mm and weighs 407 g, while the microAUDIO 722 measures 220.0 × 128.0 × 68.0 mm and weighs 553 g.

The microAUDIO series brings compact design and studio clarity together, giving creators tools that are powerful, musical, and ready for today’s connected creative environments.

For more information, please visit NAMM Booth #6802 or online at www.korg.com.

Street Price:

microAUDIO 22 $199.99 USD

microAUDIO 722 $269.99 USD

Walrus Audio is proud to announce Mantle, a premium preamp and DI for electric bass created in close collaboration with Ian Martin Allison of Scott’s Bass Lessons. Mantle is designed to give players a powerful sonic foundation with studio grade refinement in any setting, whether performing onstage, tracking in the studio, or shaping tone at home.

Mantle features two proprietary custom wound Sapphire Transformers, developed through years of research and refinement by the Walrus engineering team. The input transformer is inspired by classic Neve approaches to deliver strong low-end and midrange presence with clean handling of large signals. The output transformer takes influence from an API 312 output stage to provide quiet, balanced output and rich harmonic character.

The interface is intentionally simple with three large rotary knobs for Bass, Gain, and Treble. Mantle offers sparkling cleans to subtle transformer saturation without unpleasant breakup, and includes an Active or Passive pad to optimize signal headroom. The EQ is flexible and musical, operating as a broad bell boost above noon and switching into high-pass or low-pass filter behavior when cutting below noon. This allows powerful control over sub-lows, mids, and top-end content while remaining intuitive for fast tone shaping.

Additional features include transformer balanced XLR and 1/4 inch outputs that can be used simultaneously. Mantle delivers strong signal integrity and reliable performance whether feeding a console, interface, or bass amp.

Ian shares, “I needed this product to exist. I’m thrilled to say that now it does, and it is absolutely killer.”

Walrus Audio is offering the Mantle Analog Bass Preamp, DI for $749.99. Pre-orders begin today with shipments beginning early Febuary. Experience the Mantle exclusively at walrusaudio.com and authorized dealers worldwide.

Peavey Electronics® announces the Bandit® - Supreme Teal Stripe Preamp pedal. Based off the revered and long out of production Peavey Supreme 160 head, the new pedal delivers the legendary solid state lead channel tones in a compact, easy to use package.

The original Teal Stripe Bandit 112/S was released in 1989. The Supreme 160 was the head version. Since its release, the amp head has become a pawn shop gem. Often referred to as the “OG high gain solid state amp”, “the best solid state metal amp”, or simply “the workhorse”, the lead channel provided a novel patented active EQ circuit, known as Bottom, Body, and Edge, along with a patented update to the formidable early ‘80s Saturation circuit, known as SUPERSAT™, that was very responsive and extremely flexible – able to dial in anything between a solid crunch tone to the extreme, brutal tones of death metal all with the reliability of solid-state technology. The biggest drawback to the head was its weight. The Supreme 160 head weighed in at a whopping 60 lbs.! For a head!

Today, Peavey succeeds in achieving those famous tones within the confines of a preamp pedal able to fit on nearly any pedal board. Loaded with PRE and POST gain control supported by GAIN and MIDSHIFT switches, the “must have” SUPERSAT™, the three band active BOTTOM, BODY, and EDGE EQ, the pedal gives players easy access to those desirable tones at a click of a button, at an affordable price. Hardware features include ¼” input and output, internal bipolar supply from a standard 9v supply/battery, power input, and a hard bypass switch with anti-click circuitry.

To learn more, visit Peavey at NAMM Booth 210A or online at www.Peavey.com

When I tell people I play guitar, they’ll often ask me, “acoustic or electric?” to which I’ll reply, “erm, both?” But not every guitarist has time for both, like Biffy Clyro and Oceansize guitarist Mike Vennart, who pulls no punches on his thoughts on playing acoustic guitar.

In an interview in the latest issue of Guitarist magazine, Vennart explains how he “can’t think of anything more boring” than playing the acoustic guitar.

• READ MORE: Carlos Santana thinks guitarists who play fast are no better than gym bros flexing their muscles: “Big deal, so what?”

Asked about the best bargain he’s found when buying guitars, he notes the time he bought a Godin 5th Avenue – a ‘50s-inspired hollowbody archtop with F-holes – for just £350 on eBay, and how he’s able to “get away” with using it at acoustic shows.

“Over lockdown, I’d accumulated a ton of air miles and, obviously I couldn’t use them, so I changed them into points and bought a Godin 5th Avenue on eBay for like 350 quid,” he says. 

“It’s not my usual kind of guitar at all, but it’s got class, and I can kind of get away with using it at acoustic shows, even though it’s not really acoustic. It makes me feel a certain way, it’s got a beautiful sound, and it’s nice and easy to play.”

He goes on: “But I fucking hate playing acoustic guitar. I can’t think of anything more boring! [laughs], so this thing brings the best out in me – I can get a lot of inspiration out of this guitar. It’s got one single P-90 in the neck, and that’s all it does. It’s fantastic.”

Back in October, Biffy Clyro frontman Simon Neil weighed in on whether having a better understanding of technique can diminish your creativity as a guitar player.

“I’m still enthralled by the magic of the guitar, probably because I never conquered the technique side,” he said. “It’s this box of wonder that I approach as a creative instrument.”

The post Biffy Clyro touring guitarist says he “can’t think of anything more boring” than playing acoustic guitar appeared first on Guitar.com | All Things Guitar.

Seattle-based effects builder Seward Park Electric has released the Arabica, a new distortion/fuzz pedal that reimagines the legendary harmonic percolator circuit with expanded control and modern versatility—without losing the raw, confrontational character that made the original a cult favorite.

At its core, Arabica stays true to the snarling, harmonically rich DNA of the classic circuit. But where the original offered a single, uncompromising voice, Arabica opens the door to a far wider range of sounds. The pedal’s four-knob control set provides the ability to fine-tune your sound with much greater precision than the original harmonic percolator.

Arabica offers the following features:

• Tone knob: absent from the original design, this knob allows players to shape the pedal’s response with precision, from sharp, bright, and brittle clang reminiscent of Albini–style edge to warmer, fuller textures that push the circuit into entirely new territory while retaining its distinctive character.
• Space knob: a unique, presence-style control that injects a bit of “air” in the sound and is capable of enhancing octaves under the right conditions.
• Loud knob: controls the overall pedal volume.
• Push knob: adjusts the amount of drive hitting the silicon transistors and diodes for a range of clipping levels, from angular breakup to fuzzy distortion.
• 9-volt operation using standard external power supply, no battery compartment.
• True bypass foot switch.

Arabica excels at articulate grit, percussive attack, and complex overtones that cut through a mix, while giving players the ability to dial in just how aggressive or refined that character becomes. Whether you’re chasing familiar abrasive tones or exploring something new with a similar harmonic bite, Arabica delivers a nuanced evolution of a famously uncompromising effect.

Each Arabica pedal is designed and hand-built in Seattle, Washington using carefully selected components and a straightforward, purpose-driven, creative design philosophy that defines Seward Park Electric.

The Arabica carries a street price of $140 and can be purchased directly from Seward Park Electric at sewardparkelectric.bigcartel.com.

America’s most beloved and immature pop-punks Blink 182 set off on their Missionary Impossible Tour last summer, and along the way, they stopped at the Orion Amphitheater in Huntsville, Alabama. That’s where PG’s Chris Kies connected with Justin Sweet, guitarist Tom DeLonge’s tech, and Brian Diaz, bassist Mark Hoppus’ tech. They took us backstage for a tour of the guitars and rack equipment that DeLonge and Hoppus brought out with them last year in this new Rig Rundown!

Brought to you by D’Addario.

Laughing Gaff

This Fender Tom DeLonge Starcaster, like the others in DeLonge’s arsenal, was built by Brian Thrasher for Blink’s 2023 tour, and it’s been in service ever since. It’s got a single Seymour Duncan SH-5 Duncan Custom pickup and a lone volume knob. DeLonge runs it with a set of Ernie Ball Paradigm strings (.011–.052) with a wound G.

After receiving the guitar, DeLonge asked Sweet for some gaff tape, which resulted in the stunning look and breathtaking poetry featured here.

Tom DeLonge: The Next Michaelangelo?

Within a day of receiving it, DeLonge also subjected this guitar, nicknamed “Milo,” to an aesthetic overhaul via stickers and some Louvre-worthy Sharpie work.

Tom DeLonge’s Signal Chain

DeLonge has left the Mesas, Marshalls, and Voxes behind for now and uses a Fractal Axe-FX III unit on the road. His main sound is based on a jumpered Marshall plexi amp and a Soldano X88-IR. For clean sounds, DeLonge goes for a hybrid sound of a CA3+ (Custom Audio Amplifiers 3+ SE) and a Fender Deluxe Reverb. The drive sounds are pushed through a model of a Marshall 4x12 cabinet loaded with Celestion Vintage 30s, and the cleans crank through a Vox AC-30 IR. A Rupert Neve Designs 5211 preamp helps bring the tones to life.

Changes are handled by a Fractal FC-12 backstage, and a FC-6 for DeLonge onstage.

Green Ray

Only played a few times on this tour, this Ernie Ball Music Man StingRay bass was used to record Blink’s 1999 breakout record, Enema of the State.

Take Off Your Pants and Jag-et

According to Diaz, Hoppus will message artists he likes on Instagram to ask them to paint his basses, like this commission from Ohio-based artist Burrito Breath. Nicknamed “Stoned Fruit,” this Fender Jaguar bass—now a Limited Edition signature model for Hoppus—carries Hoppus’ now-signature “reversed P” pickup configuration of a set of Seymour Duncan Quarter Pound P-bass pickups.

Mark Hoppus’ Signal Chain

Check out Mark Hoppus’ rack! He rolls with this Neural DSP Quad Cortex unit. His main sound is based off of an Ampeg SVT, and other key modeled sounds include a Keeley Noble Screamer, an Orange Terror amp, and a JHS 424 Gain Stage.

Also in the rack are a Radial JX 44, Fretronics RSW switching system, and a Rupert Neve Designs 5211 preamp.

Ernie Ball StingRay Bass

Neural Quad Cortex

Fender Starcaster

Ernie Ball StingRay Bass
Neural Quad Cortex
Fender Starcaster
Fender Tom DeLonge Starcaster
Seymour Duncan SPB-3
Ernie Ball 2834 Super Slinky Strings
Radial JX44
Rupert Neve Designs 5211
Shure AD4Q
Radial JR5
Blackstar Live Logic 6-button MIDI Footcontroller

C. F. Martin & Co.® is proud to announce the launch of its refreshed Road Series, a redesigned lineup of 20 acoustic-electric guitars—18 of them new or updated—created to guide players along their road to what’s next. The new structure offers a clearer and more intuitive way for musicians to choose the look, tone, and performance features that fit their needs.

Announced just ahead of The 2026 NAMM Show, the refreshed Road Series debuts a reorganized lineup built around two distinct paths:

• Retro: Vintage-inspired models with classic Martin character, traditional body shapes (D and 000), and warm, balanced tone.
• Modern: Contemporary designs featuring bold finishes, cutaway options (DC, OMC, GPC, and SC), fast-playing necks, and stage-ready styling.

To simplify comparisons, each model aligns with one of four updated style levels:

10 Style: Satin body; solid spruce or sapele top; solid sapele back and sides; Martin E1 electronics; inspired by Style 15 guitars.

12 Style: Gloss body; solid spruce top; solid sapele back and sides; Martin E1 electronics; inspired by Style 18 guitars.

13 Style: Gloss body; solid spruce top; solid black walnut or koa fine veneer back and sides; Martin E1 electronics (L.R. Baggs on SC-13E); inspired by Style 28 guitars.

Retro Plus: Gloss body; torrefied solid spruce top; solid mahogany or granadillo back and sides; L.R. Baggs electronics; elevated interpretations of Style 12 and 13 models.

The refreshed Road Series also spans a wide range of body shapes, including 000, OM, Dreadnought, and Grand Performance models, along with expanded Modern offerings featuring cutaways, such as the SC, GPC, OMC, and DC.

This updated structure bridges the gap between the X Series and Standard Series, giving players a clear understanding of where each model fits within the Martin family. The complete lineup will debut at The 2026 NAMM Show in Anaheim, California, where industry attendees can experience the guitars firsthand and explore how the new Retro and Modern paths streamline the decision-making process.

With clearer choices and expanded features, the refreshed Road Series provides an inspiring entry point into the Martin lineup and a pathway for players ready to take the next step in their musical journey.

For more information, visit Martinguitar.com.

If your idea of great guitar playing is shredding scales faster than a coffee-fuelled gym bro curls dumbbells, Carlos Santana has a message for you: “Big deal. So what?”

Speaking on the new issue of Guitarist, Santana suggests that too many players mistake technical skill for musical expression, forgetting that music’s true power lies in the way it moves people.

“Music isn’t a sport at the end of the day, especially for the listener,” he says. “If you just practise all day and night going really fast, after a while it’s a bit like going to the gym and seeing somebody flexing their muscles. Big deal. So what? Playing with spirit is like giving someone a hug that lasts for infinity. Time stops.”

• READ MORE: “I’m not that fast on the guitar, but I don’t want to be”: David Gilmour explains why speedy solos never interested him

According to Santana, it’s the heart and soul that make a guitar player memorable: “The only thing people will remember about your music is how you made them feel. They are not going to remember all the fast scales and ‘Look at what I can do!’ moments,” says the guitarist.

“But they will remember those three notes that made the hairs stand on the back of the neck and tears come out of their eyes, even if they don’t know why. That’s a whole other element, one I call spirit. Some people don’t know how to play with spirit, heart and soul. Those are three very important ingredients.”

Improvisation, he explains, is central to this approach and it’s all about embracing the unknown.

“Anybody can practise scales up and down. But there’s something about coming down a water slide. You don’t know how you’re going to land; it might be on your head or on your feet. That’s what happens when you deviate from the melody,” says Santana.

He cites John Coltrane, Miles Davis, and Wayne Shorter as teachers of this art, recounting Shorter’s wry advice on practising: “He’d tell them, ‘We don’t know what we are going to play; how do you practise the unknown?’”

Santana also credits a wide array of influences beyond the usual guitar pantheon. “I learned improvisation from Coltrane. I learned cosmic music from Sun Ra. I learned down-to-earth music from the Grateful Dead because they were heavily immersed in the folk and bluegrass worlds. And don’t dismiss the guitar playing of Bob Dylan. He played a lot of great guitar, which worked beautifully with his vocals.”

Placing particular emphasis on learning from soul singers, Santana says that “playing along to soul singers is something nearly every guitar player could learn from. I don’t care who you are, whether you are Al Di Meola or not, I’d recommend this to any guitar player. If you spend even one day learning how to play and phrase like those lady soul singers, you will become a better musician. This is the truth.”

The post Carlos Santana thinks guitarists who play fast are no better than gym bros flexing their muscles: “Big deal, so what?” appeared first on Guitar.com | All Things Guitar.

Electro-Harmonix has announced the Effects Interface Hardware Plugin, a “first-of-its-kind” studio-and-stage tool designed to blur the line between physical pedals and software plugins.

At its core, Effects Interface is built to tackle two familiar problems for modern guitarists: running tracks from your DAW through real pedals, and integrating plugins into a physical rig. Rather than relying on special converters or direct boxes, the Effects Interface handles your signal and delivers it with care between your hardware and software via a single USB-C connection.

• READ MORE: Lazy J x ThorpyFX The J review: “one of the best sounding, most tactile and responsive dirt pedals I’ve ever played”

The Effects Interface operates in three distinct modes. Hardware Plugin Mode allows users to send audio from their DAW through pedals or other outboard gear just like software plugins on a track. Vocals, synths and even MIDI instruments can be routed through guitar pedals with minimal setup.

Pedalboard Mode flips that concept on its head. Here, players can route their instrument into a DAW, process it with plugins, and send the signal back out to their amp or pedal chain – effectively turning plugins into stompboxes. For players who rely on software amp models or effects that don’t exist in hardware form, this opens up new hybrid rig possibilities, both live and in the studio.

Finally, we have the Audio Interface Mode, which allows the unit to function as a traditional 2-in/2-out USB audio interface.

Physically, the Effects Interface is designed to live comfortably on a pedalboard. It features straightforward controls, a single footswitch, stereo I/O with dedicated level control sliders, and a headphone output for monitoring. Power supply and USB-C cable are included, keeping setup as simple as possible.

EHX describes the Effects Interface Hardware Plugin as a way to “knock down the walls between physical and plugin effects”, and the concept will likely appeal to guitarists looking to bridge the gap between modern DAW workflows and traditional rigs.

The Effects Interface Hardware Plugin is available now for $359.

Learn more at EHX.

The post Turn pedals into outboard gear – and plugins into pedalboard-ready effects – with Electro-Harmonix’s new Effects Interface appeared first on Guitar.com | All Things Guitar.

When Mateus Asato announced last week that he’d ended his 12-year partnership with Suhr, speculation quickly followed. After more than a decade with the brand – and a run of signature models along the way – fans were left wondering if another guitar company might already be waiting in the wings.

• READ MORE: “The Stratocaster hasn’t really changed since 1954”: Outgoing Fender CEO Andy Mooney says electric guitarists have “generally been reluctant to really accept innovation”

Those questions only grew louder days later when the 33-year-old shared a video of himself performing Jimi Hendrix’s Little Wing on a Stratocaster.

“Could it be that Fender made a move and signed one of the best modern players around? (please say yes),” a fan commented on the post.

Though Asato was quick to shut down the idea: “You guys are funny. Imagine playing Little Wing on a guitar that isn’t a Strat… Could it work? Maybe.”

“In my case, I just picked this strat because it fits the storytelling the most. Regarding this topic, I’m really chill. ‘Single’ & happy where I am at this point. Tchau tchau!”

In a longer follow-up comment (translated from Brazilian Portuguese), Asato reiterated that the Strat appearance isn’t a hint at a new endorsement deal.

“Dude, 95% of this video is me performing Little Wing. Imagine the heresy if this wasn’t touched in a strat?! Can’t. I just wanted to live up to the story told. Concerning this matter, I’m calm and waiting on God for direction of whatever next chapter. Hug!”

View this post on Instagram

With brand rumours put to rest – for now – Asato is turning his attention back to music. The guitarist’s highly anticipated debut solo album is due in the coming weeks, and features the singles Cryin’ and The Breakup Song, which are now out.

“The album is definitely a journey through all the sides of Mateus,” Asato said in an interview with Guitar.com last year. “The Mateus who’s a sideman, Mateus as the Instagram boy, and then the Mateus that got more mature over the years. Who developed a different vision regarding music, regarding how I see guitar.”

The post “‘Single’ and happy where I am at this point”: Mateus Asato addresses rumours of him joining Fender following Suhr exit appeared first on Guitar.com | All Things Guitar.

Fuzz is the most honest of all the guitar effects. It has no interest in trying to sound transparent, organic or amp-like: buy a fuzz box and your tone is going to be truly, deeply, thoroughly messed up. That’s in a good way, of course – at least, as long as you get the right one.

The early fuzzes were, in a word, nasty. Pioneers like the Maestro Fuzz-Tone of 1962 brought heavy distortion with a brassy, mids-focused tone that cut through the mix but didn’t offer much sustain. It wasn’t until the Brits got involved – notably with the Fuzz Face and Tone Bender – that things took a turn for the smooth. Then came the Electro-Harmonix Big Muff of 1969, a sonic steamroller of full-frequency hugeness with violin-like sustain… and all the main foundations of fuzz as we understand it today were in place.

If you’re after a ‘normal’ fuzz pedal, then, the first thing you need to decide is whereabouts on that timeline you want to go for inspiration – from lo-fi buzz to silky sweetness – and whether you want your midrange to be strident, scooped or somewhere between the two.
There are, however, other options that go well beyond the basic brief of turning the plinky-plunk of the electric guitar into something bigger and angrier. Curious about octave fuzzes, gated fuzzes and filter fuzzes? They’re all covered below.

At a glance:

• Best classic fuzz: EarthQuaker Devices Barrows
• Best multi-voice fuzz: Walrus Audio Eons
• Best Big Muff-style fuzz: Electro-Harmonix Ram’s Head Big Muff Pi
• Best octave fuzz: Beetronics Octahive V2
• Best Harmonic Percolator type: Land Devices HP-2
• Best combined fuzz and overdrive: Great Eastern FX Co Focus Fuzz Deluxe
• Best fuzz for soundscaping: Noise Engineering Dystorpia
• Best fuzz for gated effects: ThorpyFX Field Marshal
• Best vintage-style nasty fuzz: Fredric Effects Nouveau Super Unpleasant Companion
• Best filter fuzz: Dreadbox Disorder
• Why you can trust Guitar.com

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Best classic fuzz: EarthQuaker Devices Barrows

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Of all the early Brit fuzzes, the best for many people is the MkII Tone Bender – and that’s the source material for this mini pedal from the ever-excellent EQD. It’s super-smooth and rich, with that extra punch in the midrange that really represents the main difference between a Tone Bender and a Fuzz Face. It’s also a real cutie, if that word can reasonably be applied to anything with a picture of human remains on it.

Just be aware that, while it may be powered by three germanium transistors in true vintage style, this is no faithful replica: it’s thicker and bloomier than a real MkII Bender, making it ideal for doomy rock chords but not for snappy punk riffing.

Need more? Read our EarthQuaker Devices Barrows review.

Best multi-voice fuzz: Walrus Audio Eons

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Not to be confused with the Ages (five flavours of overdrive) and Eras (five flavours of distortion), the Eons is Walrus Audio’s attempt to capture the universe of fuzz in one compact stompbox – and while it won’t replace any pedal geek’s whole collection, it covers an impressive amount of ground.

Its primary weapon is a rotary switch that lets you choose from five different clipping circuits, covering everything from traditional silicon fuzz to a raging high-gain roar. But just above that is another special feature: a ‘lightning bolt’ control that you can crank for maximum clarity or pull back for spluttery voltage-starved effects. For sheer versatility, this goat might just be the GOAT.

Need more? Read our Walrus Audio Eons review.

Best Big Muff-style fuzz: Electro-Harmonix Ram’s Head Big Muff Pi

This version is a nano-sized reissue of one of the very earliest models, so called because of the logo at bottom right (which was never actually supposed to be a ram, but never mind). It sounds enormous, naturally, and errs on the side of warmth rather than straying into the nasal buzz that can be a weakness with some Muffs.

Note that, while the link below is to our review of the J Mascis signature Ram’s Head, the plain grey version is the same on the inside – and cheaper.

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Need more? Read our Electro-Harmonix Ram’s Head Big Muff Pi review.

Best octave fuzz: Beetronics Octahive V2

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Octave fuzzes are a riot, but don’t get too hung up on the ‘octave’ part. Because while the Roger Mayer Octavia used by Jimi Hendrix on Purple Haze does bring out the squeals in a big way, many pedals of this type are more about boosting harmonics to create gnarly textures than actually generating extra notes. And the Octahive is a fine example.

In standard mode, this is a thick fuzz with all the warmth of a tiger’s cuddle. But double-tap the clever footswitch to engage octave mode and that tiger suddenly remembers it hasn’t had its breakfast, coming for your eardrums with a savagely snarly midrange. And yes, it will also give you an up-octave if you play single notes high up the neck.

Need more? Read our Beetronics Octahive V2 review.

Best Harmonic Percolator type: Land Devices HP-2

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In the 21st century, Interfax is the name of a Russian news agency. Back in the 1970s, it was a small electronics business in Milwaukee run by a man named Ed Giese. History doesn’t record whether Ed knew much about the Soviet Union’s GDP, but he certainly knew how to design a fuzz pedal – and that was the Harmonic Percolator.

Made famous by the late Steve Albini, the Percolator has a bucketful of gain and provides all the gurgles and splutters suggested by its name, but it’s actually tighter and more controllable than many fuzzes. The Land Devices HP-2 is one of the best-known and best-loved modern takes on that quirky circuit, and for good reason. It’s choppy and chunky, with great clarity, and sounds surprisingly sweet with the guitar’s volume backed off a few notches. Be prepared for some hiss, though: Percolators tend to be noisy.

Need more? Read our Land Devices HP-2 review.

Best combined fuzz and overdrive: Great Eastern FX Co Focus Fuzz Deluxe

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There are lots of overdrives that can be pushed into the fuzz zone when you crank the gain, perhaps the best example being the insanely good Hudson Electronics Broadcast. But the Focus Fuzz Deluxe does more than that: as well as nailing those prized Tone Bender sounds, it can serve as a medium-gain overdrive or even a clean boost… and has a second footswitch for engaging a raspy octave mode.

It also has the same midrange-tightening ‘focus’ control as the original non-Deluxe model, which is a feature that plenty of other dirt pedal designers would do well to learn from, and serves up all of this multi-mode magic in a little golden box that positively stinks of sheer handmade class.

Need more? Read our Great Eastern FX Co Focus Fuzz Deluxe review.

Best fuzz for soundscaping: Noise Engineering Dystorpia

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Noise Engineering isn’t really a guitar pedal maker – it’s a company that specialises in synth modules, but decided to knock up a couple of stompboxes just for a laugh. And that lack of baggage is probably why the Dystorpia is such a fearlessly radical device.

Despite being a digital fuzz, this pedal can create some more or less traditional tones… but you won’t stick with them for long, because its array of knobs and switches opens up all sorts of possibilities for extreme noise creation. That includes some wild glitching effects, and even a freeze function for generating fuzzy ambient drones.

Need more? Read our Noise Engineering Dystorpia review.

Best fuzz for gated effects: ThorpyFX Field Marshal

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The idea of ‘boutique fuzz’ originated in the 90s with two pedals: the Z.Vex Fuzz Factory from the USA, and the Lovetone Big Cheese from the UK. This is a reworking of the latter, made in collaboration with original designer Dan Coggins, and it’s every bit as fruity as the original.

Its first trick is rich, thick, gravelly fuzz that will win you over in seconds; its second trick is a mid-boost mode for something sharper and more focused; and its third trick is the same squelchy, splatty mayhem – ‘gating’ the fuzz by using voltage starvation to clamp down on notes as they fade – that first made the Big Cheese famous.

Need more? Read our ThorpyFX Field Marshal review.

Best vintage-style nasty fuzz: Fredric Effects Nouveau Super Unpleasant Companion

The Maestro Fuzz-Tone wasn’t the only 60s pedal to assault the ears with a lo-fidelity buzzsaw blast: Japanese company Shin-ei kept churning out raucous noise-bringers long after most makers had switched to the more easygoing Fuzz Face formula. This little black wedge is a tribute to Shin-ei’s FY-2 Companion Fuzz and FY-6 Superfuzz, offering both circuits in one enclosure and adding extra tonal options.

Mind you, those options don’t include anything that isn’t downright hostile. Our review included the words ‘obnoxious’, ‘fanatical’, ‘insect-like’, ‘belligerent’ and ‘tinnitus in a box’. Don’t expect the sonic equivalent of an Indian head massage, then – but do expect a whole lot of fun.

Need more? Read our Fredric Effects Nouveau Super Unpleasant Companion review.

Best filter fuzz: Dreadbox Disorder

There is a way to make high-gain filth sound even cooler, and that’s to pair it with powerful EQ filtering. In the case of the Disorder, that means running an analogue CMOS fuzz through dual filters with adjustable resonance and the ability to track the dynamics of your playing.

Even in fixed mode, those filters give you much more tone-shaping flexibility than you’ll ever get from a traditional fuzz box; and once you engage the envelope mode, that flexibility gains the power of movement, with notes and chords getting either brighter or darker as they fade. It can be subtle, but it can also be a recipe for outlandish sci-fi swoops.

Annoyingly, while you can control the filters using an external device via CV, you can’t do so with a standard expression pedal. For that you’ll probably want the (much more expensive) Collision Devices TARS or Death By Audio Crossover Fuzz.

Need more? Read our Dreadbox Disorder review.

Why You Can Trust Us

Every year, Guitar.com reviews a huge variety of new products – from the biggest launches to cool boutique effects – and our expert guitar reviewers have decades of collective experience, having played everything from Gibson ’59 Les Pauls to the cheapest Squiers.

That means that when you click on a Guitar.com buyer’s guide, you’re getting the benefit of all that experience to help you make the best buying decision for you. What’s more, every guide written on Guitar.com was put together by a guitar obsessive just like you. You can trust that every product recommended in those guides is something that we’d be happy to have in our own rigs.

The post The best fuzz pedals for all styles and budgets appeared first on Guitar.com | All Things Guitar.