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Lazy J x ThorpyFX The J review: “one of the best sounding, most tactile and responsive dirt pedals I’ve ever played”
£329 / $399, thorpyfx.com
Collabs are all the rage in the pedal world these days, but it’s still exciting when you see someone enter the field that hasn’t been there before. Jesse Hoff, the main man behind Lazy J, has won a reputation as one of the world’s foremost boutique amp makers over the last few decades. You’ll find his takes on vintage Tweed amps on stages and in studios with everyone from David Gilmour and Noel Gallagher to Ed O’Brien and Joe Satriani.
- READ MORE: Horrothia Effects Triage Deluxe review – the ultimate all-in-one gain machine for fussy tonehounds?
Hoff is also no stranger to effects either, having put out the well-regarded Cruiser boost/drive pedal well over a decade ago. But collaborations? That’s a new one.
Thorpy main man Adrian Thorpe is much more familiar with that sort of thing of course – whether that’s making signature gear for Chris Buck and Danish Pete, or collaborating with pedal legend Dan Coggins to revive both the Dinosaural and Lovetone brands.
Two tone connoisseurs teaming up to make something altogether a bit different for both of them then? Well, that sounds like a lot of fun…
“I like to work with good people who genuinely inspire me,” Thorpe tells me. “Jesse is such a great guy, one of the great amp builders. I’ve been an owner and huge fan of his Lazy J J 20 amp for years. It’s such a harmonically rich and beautifully tactile amp to play. It’s taken us about four years of collaboration to develop The J pedal, and we’re really proud of the result.”
Image: Press
Lazy J x Thorpy Fx The J – what is it?
As Adrian implies, the primary mission of The J is to faithfully emulate the tones and response of a J 20 amp in compact pedal format, itself derived from the classic Fender 5E3 Tweed Deluxe amp. To do that, The J includes a built-in transformer that can mimic the real amp feel, paired with a circuit chock full of high-grade audiophile capacitors and such. All of it is built to Thorpy’s famously military-grade specs, and differs from the usual Thorpy fare by squeezing it all into a rather lovely UV-printed enclosure. It’s still recognisably a Thorpy pedal of course, but one that feels equally indebted to the Lazy J boutique amp lineage.
As with the original, you get the option of a normal or bright channel, and the controls are suitably spartan for an amp based on the similarly simple J 20 – with independent volume for each, as well as a presence control, single tone and a master output. Things you won’t find on the top of the J 20 include a toggle switch to select X or Y mode – the circuit’s impression of either 12AX7 or 12AY7 valves – as well as a ‘supply’ switch, which is designed to emulate the J 20’s impressive attenuator.
Image: Press
Lazy J x Thorpy Fx The J – usability and sounds
I’ve owned, gigged and recorded with both vintage tweed amps and J 20 for over a decade, and so I approached The J with a bit of trepidation. Surely it couldn’t capture the magic touch-sensitive 3D sonic experience of an amp that’s simultaneously chiming with top clarity and snarling with chewy, barking midrange?
Plugging my Strat into a Deluxe Reverb set sparkly clean, I set The J in the lower gain 12AY7 mode and select the normal channel. One thing that’s worth being aware of here is that, like the J 20, the positioning of the volume of the channel you aren’t using does have an impact on the gain of the one you are – a weird eccentricity for sure but one that I respect Thorpy and Hoff going to the trouble of recreating here.
With the supply, output and normal volume set high (and the bright volume low), I’m greeted with a fat, harmonically rich, very sweet edge-of-breakup up tone, just what I love about tweed amps.
The bright channel is – as you’d expect – a touch brighter, but also more gainy than the normal channel. But utilising the additional controls I can dial in everything from a fat clean boost to snarling fuzz tone freakouts, much like a great old tweed amp.
Plugging in a Tele is Keef riff and Cropper heaven, and upping the gain with my P-90-loaded Les Paul has me revelling in the rich tonal spectrum of Neil Young. It’s a chewy feeling, slightly flabby, gorgeously addictive and crucially, superbly touch responsive guitar tone that the Thorpy J convincingly nails, even when tried back-to-back with my J 20 amp.
As a tweed emulator pedal The J responds magnificently to a lighter touch or guitar volume manipulation, and not only crucially captures both the playing feel and tone of a cranked amp, but also a lot of the quirky nature of the unexpectedly interactive control set. Hours of lush tonal experimentation await the tone curious player.
Image: Press
Lazy J x Thorpy Fx The J – should I buy one?
Thorpy has been producing some truly superb pedals for many years now, but The J might very well be the brand’s crowning achievement. It’s a superb tweed amp emulation that more than lives up to the Lazy J name, but there’s more to it than just that.
Even if you never cared about capturing the authentic sound of a tweed amp, The J is a fantastic overdrive pedal in its own right – in fact, it’s one of the best sounding, most tactile and responsive dirt pedals I’ve ever had the privilege of playing.
Image: Press
Lazy J x Thorpy Fx The J – alternatives
Capturing Tweed in a box is a notoriously tricky task, for a decent flavour however the Catalinbread Formula No. 55 ($189) is a JFET-based overdrive designed to replicate those classic Tweed Deluxe flavours. More pricey, but the Origin Effects Deluxe55 (£279) is an all-analogue tribute to the legendary Fender 5E3 with some twists. If you’re after a more digital emulation of the tweed thing, the Universal Audio Woodrow ’55 ($399) is worth a look.
The post Lazy J x ThorpyFX The J review: “one of the best sounding, most tactile and responsive dirt pedals I’ve ever played” appeared first on Guitar.com | All Things Guitar.
Case Study: Charlie Parr on Spider John Koerner’s Gretsch
Troubadour Charlie Parr brought a bit of history to the Fretboard Journal headquarters, a circa-1950 Gretsch acoustic that was owned by Spider John Koerner. The guitar was gifted to Parr by Koerner towards the end of his life.
It’s an unusual instrument, even by acoustic Gretsch standards. For starters, the headstock sports a mispelled logo. Beyond that, Koerner modified the instrument to be a 12-string, using mandolin tuners and a relocated pin bridge. “The top is wildly crooked. It shouldn’t work at all, but it does,” Parr explains. “I’ve been carrying it with me ever since John handed it over.”
The post Case Study: Charlie Parr on Spider John Koerner’s Gretsch first appeared on Fretboard Journal.
Did EarthQuaker Just Build the Ultimate Dr. Z Pedal?
Dr. Z and EQD meld minds and come up with a most flexible tube preamp that can add life to the output from your amp or at the input of a DAW.
ZEQD-Pre Preamp Pedal
A game-changing joint effort between EarthQuaker Devices and Dr. Z Amplification, the ZEQD-Pre injects your guitar rig with a healthy dose of tube-flavored character. Place this all-analog preamp pedal at the end of your signal chain, and you’ll revel in the harmonic-rich warmth and dynamic response you’d expect from a cylinder of glowing-hot glass. The ZEQD-Pre’s robust, passive 3-band EQ is just what the doctor ordered for fine-tuned tone shaping, pushing its preamp into ear-grabbing grit, or breathing new life into your favorite modeling patch. Moreover, this stellar stompbox features a switchable analog cabinet simulation for seamless DI recording and backline-free live performances. You also get a Boost footswitch with a dedicated Level control, delivering a wide-open volume bump that lets your solos soar high above the mix without sacrificing clarity or character. Finally, the ZEQD-Pre includes numerous thoughtful features, including a Ground Lift, Headphone output, and a balanced XLR DI output. Driven by an EF86 pentode — the same tube that fuels Dr. Z’s pristine, hi-fi amplifiers — the EarthQuaker Devices ZEQD-Pre offers a complete, all-analog amplifier system that fits right on your pedalboard.
Fender Unveils Unified Music Ecosystem
Fender Musical Instruments Corporation (FMIC) has introduced Fender Studio as a new brand, unifying PreSonus® Studio One Pro and its renowned recording interfaces together under the Fender name. Starting this year, Studio One Pro becomes Fender Studio Pro, while the Quantum and AudioBox Go lines transition to the Fender Quantum Series and Fender AudioBox Go.
The reimagined Fender Studio Pro environment introduces an updated visual design, native Fender amp and effects plugins - a first for DAWs, a new channel overview for faster mixing workflows, updated samplers and an AI powered audio-to-note conversion tool for layering sounds and inspiring intelligent chord technology for creative songwriting.
For artists, producers and engineers, this move represents more than a name change. It brings together the trusted performance of PreSonus hardware and software with Fender’s deep legacy in tone and musical expression.
New Fender Studio products include:
Fender Studio Pro 8 – The only DAW that comes equipped with new Fender Mustang Native Guitar & Rumble Native Bass Plug-ins which contain 50+ guitar and bass amps, 100+ built-in effects, classic tones and pro presets.
Fender Quantum LT Audio Interfaces – a new USB-C audio interface available in three models that seamlessly integrates with Fender Studio Pro 8
Fender Motion – A creative controller for the next wave of music makers where unique integration with Fender Studio Pro sparks inspiration, shapes sounds and brings ideas to life. Available spring 2026
“For more than a decade, Studio One Pro has set the standard for modern music production,” said Max Gutnik, Chief Product Officer, FMIC. “Its balance of power, creativity and ease of use has inspired countless artists and shaped how music is made today. With Fender Studio Pro, we are taking those celebrated features and enhancing them with a modernized interface, Fender’s award-winning amp and effects models and new intuitive workflows and capabilities that make creating music faster, more inspiring and more connected than ever.”
Combining Studio One Pro’s celebrated features and trusted performance with a new modernized interface and intuitive workflows, Fender Studio Pro 8 features Fender’s renowned amps and effects models that make creating music faster, more inspiring and connected than ever. Available exclusively in the Fender Studio app and Fender Studio Pro, the Mustang and Rumble Native plugins offer 57 guitar and bass amp models and hundreds of effects for players to find their sound.
From iconic instruments and amplifiers to award-winning digital platforms like Tone Master Pro and Fender Play, Fender remains dedicated to inspiring generations of artists and creators through technology, tone and timeless design. The new Fender Studio brand represents the next evolution of that vision, where tradition and innovation meet in the service of creativity. Anchored by Fender Studio Pro and the Fender Quantum Series Interfaces, this next-generation lineup delivers reliability, premium sound quality and seamless integration across hardware and software, from the studio to the stage. Built for artists, producers and engineers, Fender Studio enhances the creative process and brings ideas to life without disrupting the flow of inspiration.
“Having authentic Fender amps and pedals built straight into the DAW is a game-changer,” said Alissia, GRAMMY®-Nominated Producer of the Year, Bassist and Artist. “Fender Studio Pro delivers true analog warmth with a seamless workflow.”In this exclusive collaboration filmed at the legendary Power Station at BerkleeNYC, witness the creative process unfold as Nile Rodgers lays down his signature guitar work while Alissia crafts the perfect production. From initial concept to polished production, see how these two masters harness the full power of Fender Studio Pro’s comprehensive music creation tools.
Starting today, all existing PreSonus customers will continue to be served through the new MyFender platform effectively replacing MyPreSonus. This exciting new platform will not only serve software and hardware customers but the wider universe of Fender customers who purchase guitars, amps and effects.
In parallel, the PreSonus brand will continue to serve creators with industry-leading audio solutions like the acclaimed Eris® Monitors, StudioLive® Series III SE Mixers, Air XD Loudspeakers and more. As part of the FMIC family, PreSonus remains committed to its core mission of democratizing music creation and making professional-quality tools accessible to artists at every level. PreSonus customers will continue to receive full support and updates. Stay tuned for more exciting announcements to come in 2026.
FENDER STUDIO SOFTWARE
Fender Studio Pro 8 – Meet Fender Studio Pro, the next evolution of modern music creation. Effortlessly bring ideas to life with a fluid drag-and-drop workflow and a complete collection of inspiring virtual instruments, native plug-ins and authentic Fender Mustang Guitar and Rumble Bass amp models. Every tool is designed to enhance the creative process, helping artists capture ideas quickly, shape them with precision and transform them into professional-quality productions without breaking the flow of inspiration. See sessions with new clarity through Channel and Arrangement Overviews and explore legendary tone through Fender’s built-in amp and effects suite. The redesigned interface keeps production fast and intuitive, while AI-powered Audio-to-Note conversion transforms recordings into editable MIDI notes with a single click. Spark new ideas with Chord Assistant, program drums and chop samples using the updated Sample One and Impact samplers and add spacious dimension with the immersive Studio Verb plug-in. Bring a vision to life with video playback on the Show Page and capture inspiration anywhere through seamless Fender Studio integration (free desktop and mobile companion app). Fender Studio Pro delivers the tools, tones and technology that empower every artist to create without limits.
Pricing:
- Perpetual License ($199.99 USD, £169.99 GBP, €199.99 EUR, $349 AUD, ¥29,800 JPY)
- Pro+ Annual Subscription Plus Perpetual ($179.99 USD, £159.99 GBP, €179.99 EUR, $299 AUD, ¥26,800 JPY)
- Perpetual License Upgrade ($99.99 USD, £89.99 GBP, €99.99 EUR, $169 AUD, ¥14,800 JPY)
- Fender Studio Pro — Upgrade from 6-month Demo: Owners of Fender AudioBox Go, Quantum LT 2 and LT4 can upgrade the 6-month demo to a license for Pro+ Annual Subscription Plus Perpetual ($149.99 USD, £129.99 GBP, €149.99 EUR, $249 AUD, ¥22,350 JPY)
- Monthly Subscription ($19.99 USD, £19.99 GBP, €19.99 EUR, $34 AUD, ¥2,900 JPY)
Fender Studio 1.2 App Update – Available on iOS, Android, macOS, Windows and Linux, Fender Studio is a free tool available for anyone looking to record, practice or just have fun playing along with Jam Tracks. Compatible with audio interfaces on mobile, tablet and desktop devices, Fender Studio makes it easy for players to capture guitar riffs, vocals and more, with just one tap. Packed with powerful tones, Fender Studio is the only app of its kind with authentic Fender amp models. To help users progress on their journey into digital music production, Fender Studio 1.2 introduces a unique transmit feature that seamlessly sends Fender Studio sessions directly to Fender Studio Pro 8. The new Chord Track allows users to view and edit chords for the included Jam Tracks as well as add to their own sessions and even detect chords from the audio they recorded. Plus, a new Drum Metronome with over 75 grooves can be accessed after registering for free. Additionally, a new in-app purchase unlocks all Fender amps and FX in Fender Studio, alongside a higher track count of 32 tracks.
Pricing:
- Free to download
- Free registration unlocks more Jam Tracks, a higher track limit of 16, more amps and FX and the Drum Metronome
- All Fender amps, FX and a higher track count of 32 are available as an in-app purchase, or as part of an active Fender Studio Pro+ membership
Other software updates include Fender Studio Pro Remote, Fender Studio Hub, Fender Notion and Fender Universal Control.
FENDER STUDIO RECORDING HARDWARE
Fender Quantum LT ($149.99 – $499.99 USD, £129 – £469 GBP, €149 – €549 EUR, $239 – $899.99 AUD, ¥18,500 – ¥62,300 JPY) The Fender Quantum LT Series delivers professional recording results with effortless workflow, combining incredible sound quality, flexible connectivity and seamless integration with Fender Studio Pro in three streamlined, affordable interfaces. Each model includes custom low-latency drivers, MAX-HD microphone preamps with 75 dB of gain, Fender-optimized instrument inputs, balanced outputs, loopback routing and high-power headphone monitoring. Built-in integration with Fender Studio Pro and Universal Control ensures seamless hardware-software operation, allowing creators to fine-tune their direct mixes remotely for near-zero latency performance. Standalone Mixer Mode makes Fender Quantum LT versatile enough for live use, classrooms or portable rigs — while MyFender access simplifies registration, setup and support. For creators who need more, the Fender Quantum LT 16 expands the possibilities with 8 combo mic inputs and 8 additional TRS line inputs, MIDI I/O, DC-coupled outputs for synth and modular setups and an included Fender Studio Pro Perpetual license. With Mic Pre Mode, it even doubles as an 8-channel outboard mic preamp. Together with other key elements of the Fender hardware portfolio, such as Mustang amplifiers and Tone Master Pro, the Quantum LT Series completes a seamlessly connected ecosystem that moves effortlessly from studio to stage.
Fender Quantum HD ($599.99 – $1,099.99 USD, £489 – £889 GBP, €579 – €1,049 EUR, $999 – $1,899 AUD, ¥72,700 – ¥130,500 JPY) The Fender Quantum HD Series is engineered for creators who demand professional-quality recording with precision, power and flexibility. Each interface features high-definition MAX-HD preamps, ultra-low-latency drivers and 32-bit /192 kHz high-performance converters, capturing every nuance of instruments, vocals and full-band recordings with remarkable clarity. Fender instrument inputs ensure guitars and basses translate perfectly to the mix. Auto Gain simplifies setup, while re-amp outputs allow experimentation with amp and pedal setups. DSP monitor mixing and loopback routing streamline podcasting, streaming and tracking workflows. Control all critical functions from Fender Studio Pro or the Universal Control app, including preamp gain, phantom power and channel configuration — keeping focus on performance rather than setup. Fender Quantum HD scales with player’s studio needs: the HD 2 offers a 20 x 24 I/O setup ideal for project studios, while the HD 8 expands to 26 x 30 channels with ADAT expansion for large-scale recording.
Fender AudioBox Go™ ($99.99 USD, £79 GBP, €89 EUR, $159 AUD, ¥11,500 JPY) The Fender AudioBox Go is a compact, versatile 2x2 USB-C audio interface designed for musicians, podcasters and content creators who need professional-quality recording wherever inspiration strikes. With pristine 24-bit/96 kHz converters, a low-noise mic preamp and switchable +48V phantom power, the AudioBox Go captures vocals, instruments and line-level sources with clarity and accuracy. Featuring a dedicated instrument input for guitar or bass, a mic/line combo input for vocals or keyboards, two ¼-inch line outputs to connect to studio monitors and a ¼-inch headphone output, this interface provides everything needed to track and monitor recordings. Bus-powered and ultra-portable, it’s easy to take on the road or integrate into any desktop setup. Compatible with Fender Studio, Fender Studio Pro and most other audio apps, AudioBox Go is ready for recording, mixing and producing music or podcasts right out of the box.
Fender Motion™ ($269.99 – $349.99 USD, £279 – £369 GBP, €329 – €439 EUR, $499 – $599 AUD, ¥38,700 – ¥46,200 JPY) Fender Motion Controllers put Fender Studio Pro at players’ fingertips, giving instant access to timeline navigation, session controls and an Add button for instruments and effects—so players can record, edit and perform without leaving their instrument or breaking focus. Beyond Studio Pro, Motion’s dynamic FATAR® pads, vibrant illuminated encoders and expressive touch strips elevate any DAW workflow, letting creators improvise with intelligent scales, explore iconic chord progressions and shape sounds in real time. Available spring 2026.“You still have to pay for the actual gig”: Jack Osbourne says Back To The Beginning charities received around “£1.5m or £2m” each, despite media estimates being much higher
![[L-R] Tony Iommi and Ozzy Osbourne of Black Sabbath](https://guitar.com/wp-content/uploads/2025/02/Ozzy-Tony@2000x1500.jpg)
After the final Black Sabbath gig in early July last year, extremely high estimates of how much the mighty celebration of metal had earned its chosen charities were reported across the media.
Ozzy Osbourne’s son Jack has since spoken out about these figures, and has said that each of the three charities selected by the band received around £1.5–2 million, with the rough total coming in at around £6–7 million.
The gig was held at Villa Park in Black Sabbath’s home city of Birmingham, UK. It raised money for Cure Parkinson’s, the Birmingham Children’s Hospital and Acorn Children’s Hospice. The show featured solo music from Ozzy as well as a performance from the original lineup of Black Sabbath, and a mighty roster of other rock and metal greats. Ozzy sadly passed away just a few weeks after the event.
Across the media, estimate figures of the gig’s earnings for charity were as high as $190 million. Sharon Osbourne also shut down these claims, and similarly to Jack, provided a rough total of around $11 million (about £8 million): a brilliant total that will have a real impact, nonetheless.
Speaking on the Punk Rock Sober podcast, Jack says, “This is how you know the news is probably 90 percent bullshit, ‘cause it was, like, CNN and New York Times was saying ‘Ozzy raised $150 million.’ And it wasn’t that. I think what it came down to was, like, when all was said and done, because it was a charity gig, you still have to pay for the actual gig. No bands got paid, and most of the crew donated their time.”
He adds, “But I think when all said [was] and done, each charity got, like, one and a half or two million pounds [approximately $2.7 million] each. So, it was, I think, six or seven million pounds [approximately $9.4 million]. That’s what was donated to the three charities. I mean, we would’ve loved it if it was hundreds of millions. We would have been, like, ‘Fuck yeah.’”
You can watch the full interview with Jack below:
The post “You still have to pay for the actual gig”: Jack Osbourne says Back To The Beginning charities received around “£1.5m or £2m” each, despite media estimates being much higher appeared first on Guitar.com | All Things Guitar.
Gibson uses 3D scanning and period correct materials to create an “exact replica” of Keith Richards’ prized 1960 ES-355
Gibson has revealed a new partnership with Keith Richards, unveiling two new super-limited Collector’s Edition ES-355s based on the Rolling Stones man’s own treasured 1960 ES-355.
150 guitars are available as part of the launch – 50 signed both on the instrument and label, and 100 with only a signed label. Developed in close collaboration with Richards, these guitars expectedly don’t come cheap, with the former priced at $19,999, and the latter at $29,999.
Keith first used an ES-355 in 1969, both on the road and in the studio, namely during the recording sessions for Sticky Fingers and Exile on Main St. His black 1960 model, meticulously recreated for this launch, has accompanied him on every Rolling Stones tour since 1997.
According to the Gibson Gazette, the guitars have been handcrafted in the Gibson Custom Shop in Nashville, Tennessee, and are “exact replicas”. Its details were recreated using advanced 3D scanning, period-correct materials and construction techniques, with Murphy Lab hand-aging completing the guitars.
Both feature a multi-ply bound body made from three-ply maple/poplar/maple, with red spruce bracing and a maple centreblock for enhanced sustain and reduced feedback, weight-relieved at Richards’ request. Each has a mahogany neck with a custom Keith Richards profile, while premium hardware includes a Bigsby B7 vibrato tailpiece and Grover Rotomatic tuners with Milk Bottle buttons.
Each hosts a pair of unpotted Custombucker pickups with Alnico 5 magnets, wired to CTS 500k audio taper pots and paper-in-oil capacitors. These guitars ship in a Gibson Protector series case with a certificate of authenticity and a replica of the strap that Richards uses.
Check out the launch video below, featuring producer Andrew Watt, who worked with the Stones on their most recent album, Hackney Diamonds.
“This is my standard tuning six-string,” Richards tells Watt. “This is the other side of my thing. My six-string stuff has always been, you know, a great Gibson – that’s where I feel the most comfortable. And also with the sound. Put it through just about any amp, and it will sound the way you want it, because this has so much more room for expression.”
Find out more about the Keith Richards 1960 ES-355 Collector’s Edition at Gibson.
Credit: Gibson
The post Gibson uses 3D scanning and period correct materials to create an “exact replica” of Keith Richards’ prized 1960 ES-355 appeared first on Guitar.com | All Things Guitar.
Gibson Custom and Keith Richards Unite for Historic Collaboration
Gibson is proud to announce its partnership with Keith Richards—one of the most influential musicians in history and co-founder of the legendary Rolling Stones. This collaboration introduces two extraordinary instruments: the Keith Richards 1960 ES-355 Collector’s Edition, Signed Guitar and Label, and the Keith Richards 1960 ES-355, Signed Label—both handcrafted by Gibson Custom in Nashville, Tennessee, and strictly limited. Developed in close collaboration with Richards himself, these guitars represent a rare opportunity for fans and collectors alike to own a signed replica of one of Keith’s best-loved and most recognizable guitars.
Only 50 of the Keith Richards 1960 ES-355 Collector’s Edition, Signed Guitar and Label have been produced and will be available exclusively worldwide on Gibson.com and at the Gibson Garage in Nashville and London. These guitars have been signed both on the f-hole label by Keith Richards and on the back of the headstock. Additionally, 100 of the Keith Richards 1960 ES-355, Signed Label—signed by Keith Richards on the f-hole label only—will be available at Gibson Garage locations, authorized Gibson Custom dealers, and globally on Gibson.com.
For more than six decades, the “Human Riff” has been the heartbeat of The Rolling Stones, inspiring millions of fans and musicians the world over to get out of their seats and rock ’n’ roll. It’s difficult to imagine the landscape of popular music without the monolithic presence of Keith Richards looming over it with impossible cool, godlike nonchalance, and, of course, impeccable taste in guitars. Ask any guitarist which of Keith’s instruments they desire the most, and we’re willing to bet his black 1960 Gibson ES-355 will top the list. Keith first used an ES-355 back in 1969, taking it out on the road and into the studio during the legendary recording sessions for Sticky Fingers and Exile on Main St. His black 1960 model has been a staple of every planet-straddling Rolling Stones tour since 1997.
Gibson Custom now proudly introduces two meticulous recreations of the ES-355 that Keith made famous. Handcrafted in the Gibson Custom Shop in Nashville, Tennessee, these models aren’t just a tribute; they are exact replicas, crafted using advanced 3D scanning, period-correct materials and construction techniques, with Murphy Lab hand-aging to mirror every detail of the original, including its distinctive tone.
“This is my standard-tuning six-string; this is the other side of my thing,” Keith Richards explains, “My six-string stuff has always been, you know, a great Gibson—that’s where I feel the most comfortable. And also with the sound. Put it through just about any amp, and it will sound the way you want it, because this has so much more room for expression.”
Both remarkable instruments from Gibson Custom feature a multi-ply bound body made from three-ply maple/poplar/maple, with red spruce bracing and a maple centerblock for enhanced sustain and reduced feedback, weight-relieved at Keith’s request for greater comfort. The mahogany neck sports a custom Keith Richards profile derived from 3D scans of the original, measuring approximately .801” at the first fret, .905” at the 12th, and 1.625” at the nut. The bound ebony fingerboard includes mother-of-pearl block inlays and Medium Wide fretwire, just like Keith’s original guitar.
Premium hardware consists of a Bigsby® B7 vibrato tailpiece and Grover® Rotomatic® tuners with Milk Bottle buttons, while every metal part, plastic component, and the Ebony nitrocellulose finish has been hand-aged by Murphy Lab artisans to replicate decades of wear. A pair of unpotted Custombucker pickups with Alnico 5 magnets developed especially for this model are wired to CTS® 500k audio taper pots and paper-in-oil capacitors, delivering the unmistakable sound of the original.
Each guitar ships in a Gibson Protector series case with a certificate of authenticity and a replica of the strap Keith Richards uses. This is your chance to own a piece of music history. The Gibson Custom Keith Richards 1960 ES-355 Collector’s Edition, Signed Guitar and Label is limited to just 50 units available via Gibson.com and Gibson Garage locations in Nashville and London. The Gibson Custom Keith Richards 1960 ES-355 Collector’s Edition, Signed Label is limited to 100 units and available via authorized Gibson Custom dealers, Gibson.com, and Gibson Garage locations.
Keith Richards is one of popular music’s most iconic figures. Best known as the guitarist, songwriter, and co-founder of The Rolling Stones, Richards was born in Dartford, England, in 1943. Since the early 1960s, he has helped to define the sound and attitude of modern rock music with his raw guitar riffs, R&B and blues-driven style, and rebellious persona. Alongside Mick Jagger, Richards co-wrote many of the biggest and best-loved hits in rock history, including such classics as “(I Can’t Get No) Satisfaction,” “Jumpin’ Jack Flash,” “Gimme Shelter,” and “Start Me Up.” His distinctive guitar work, often built around open tunings, gave The Rolling Stones their unmistakable edge and signature sound, influencing countless musicians. Richards has remained a creative force and a symbol of rock ’n’ roll’s defiant spirit.
Beyond his music, Richards has become a cultural legend, embodying the archetype of the rock star who seems to defy time. He was inducted into the Rock and Roll Hall of Fame in 1989 and continues to perform with The Rolling Stones well into his eighties. His memoir Life (2010) offered candid insights into his artistry, friendships, and notorious lifestyle, cementing his reputation as both a survivor and storyteller. Married to model Patti Hansen since 1983, Richards is a father and grandfather, balancing family life with his career. Today, he stands not only as a musician but as the “Human Riff,” a living testament to rock’s resilience and swagger.
Seymour Duncan Announces the Slash 3.0 Pickup Set
Seymour Duncan, a leading manufacturer of guitar and bass pickups, effects pedals, and pedal amps, is proud to announce that the Slash 3.0 Pickup Set is now available to order from seymourduncan.com and from authorized Seymour Duncan dealers.
Slash 3.0 Pickup Set
A new addition to Slash’s signature sound arsenal, 3.0 adds more punch and aggression while retaining clarity. Built with rough cast Alnico 5 magnets and vintage-inspired construction, it’s a powerful new option for players seeking extra cut without compromise.
- Slash's most aggressive signature humbucker yet, featuring Alnico 5 magnets
- Enhanced output and tighter lows without sacrificing legendary clarity and transparency
- Developed for Slash's SG® and now deployed across multiple guitars in his touring rig
- Available in multiple configurations: single or four-conductor wiring, standard or Trembucker spacing, long and short-leg options
- Hand-built in Santa Barbara, CA
Set MAP pricing starting at $258.00
Single Pickup MAP pricing starting at $129.00
For nearly four decades, Slash has relied on Seymour Duncan pickups to shape the unmistakable sound that defined a generation. From the original Slash model that recreated the legendary Appetite for Destruction tones, to the hotter Slash 2.0 set designed for stadium-sized live performances, Slash’s signature humbuckers have become iconic in their own right. Now, we bring you the Slash 3.0: born from Slash’s need for even more punch and bite while staying true to his tone.
The Slash 3.0 was first conceived at his request for Guns N’ Roses’ performance at the Back to the Beginning tribute to Ozzy Osbourne and Black Sabbath. Slash needed extra output for his SG® without sacrificing the precision and authenticity he demands from his tone. With the inclusion of Alnico 5 magnets, this new 3.0 design delivers tighter lows, more immediate attack, and added output, while keeping the same transparent character and unmistakable Slash feel. In addition to his SG®, Slash is using 3.0 live in other guitars that benefit from additional output.“The new 3.0 is basically just one more step up,” Slash explains. “You have more output, but still that same clarity and honesty of the sound of the guitar. I've got the best of all worlds now because I have my original Slash pickups that I've been using on most of my guitars forever. But now I have the options of having the 2.0 and the 3.0 for different guitars and different situations where it calls for a bit more kick-ass.”
Hand-built in Santa Barbara with vintage-inspired construction (rough cast Alnico 5 magnets, wood spacers, and traditional appointments) the Slash 3.0 set is vacuum wax-potted and available in multiple configurations: single- or four-conductor wiring, standard or Trembucker spacing, and both long- and short-leg options for modern and vintage guitars alike. Whether you’re outfitting a Les Paul®, an SG®, or a stage-ready superstrat, the Slash 3.0 gives you the choice to add just the right amount of bite without ever losing the soul of your tone.
Les Paul® and SG ® are registered trademarks of Gibson.
PreSonus Studio One is now Fender Studio Pro, as Fender launches its own fully-fledged DAW environment
Following last year’s launch of Fender Studio – a GarageBand-style, beginner-friendly DAW app for recording and jamming – Fender is taking things to the next level.
Now, Studio One Pro, the renowned DAW software from PreSonus – which Fender bought in 2021 – is transitioning into Fender Studio Pro, bringing a number of updates to visual design and UI, new amps and effects, faster mixing workflows and loads more.
But Fender isn’t stopping there; PreSonus’s Quantum and AudioBox interface lines are also moving under the Fender name, and will now be the Fender Quantum Series and Fender AudioBox.
In addition to an updated UI, new amps and effects – 57 guitar and bass amp models via Mustang and Rumble Native plugins – and faster workflows, the reimagined Fender Studio Pro environment also introduces upgraded samplers, as well as AI-powered audio-to-note conversion.
Credit: Fender
“For more than a decade, Studio One Pro has set the standard for modern music production,” says Max Gutnik, Chief Product Officer, FMIC.
“Its balance of power, creativity and ease of use has inspired countless artists and shaped how music is made today.
“With Fender Studio Pro, we are taking those celebrated features and enhancing them with a modernised interface, Fender’s award-winning amp and effects models and new intuitive workflows and capabilities that make creating music faster, more inspiring and more connected than ever.”
Fender says it “remains dedicated to inspiring generations of artists and creators”, and that the new Fender Studio brand – which brings PreSonus’s Studio One and Quantum and AudioBox interfaces under its umbrella – is the “next evolution of that vision, where tradition and innovation meet in the service of creativity”.
To showcase the potential of Fender Studio Pro, Fender has tapped Nile Rodgers and Grammy-nominated producer Alissia Benveniste for a demo video. Check it out below:
“Having authentic Fender amps and pedals built straight into the DAW is a game-changer,” says Benveniste. “Fender Studio Pro delivers true analog warmth with a seamless workflow.”
Also worth noting, MyPreSonus – the platform through which you manage and access your PreSonus gear and software – is being replaced by the new MyFender platform. This platform will also serve the wider base of Fender customers who purchase guitars, amps and effects.
While Studio One Pro is becoming Fender Studio Pro, and the Quantum and AudioBox lines are moving under the Fender name, PreSonus will continue to serve customers with pro audio products including its Eris Monitors, StudioLive Series III SE Mixers, Air XD Loudspeakers and more.
In terms of pricing, a perpetual license for Fender Studio Pro comes in at $199.99/£169.99, while a monthly subscription is available at $19.99/$19.99 per month. A number of upgrade options are also available for existing users.
Alongside the launch of Fender Studio Pro, the company has also issued an update for its Fender Studio app, introducing a new transmit feature which seamlessly sends sessions to Fender Studio Pro, as well as new Chord Track, and Drum Metronome features.
To learn more about Fender Studio Pro, head to Fender.
Credit: Fender
Elsewhere in the Fender world, it was announced last week that CEO Andy Mooney would be stepping down, with the current President of the company’s Asia Pacific division Edward “Bud” Cole assuming the role of CEO from February 16.
“Leading Fender has been a highlight of my career,” says Mooney. “I’m deeply grateful for the creativity and commitment of the Fender teams around the world and proud of what we’ve accomplished. I’m excited to pass the baton on to Bud and confident that under his leadership, Fender will continue to inspire players for generations to come.”
During his tenure as President of Fender Asia Pacific, Edward “Bud” Cole has spearheaded the opening of Fender’s flagship Tokyo store, overseen the expansion of the brand into 14 countries across the region including mainland China and Korea, and played a pivotal role in numerous Made-in-Japan launches, like the widely publicised Godzilla Stratocasters back in October.
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Remembering Bob Weir (and his Distinctive Approach to Guitar)
Black Midi guitarist Matt Kwasniewski-Kelvin has died at 26 after mental health battle
Guitarist Matt Kwasniewski-Kelvin, who was instrumental in shaping the sound of Black Midi from its formation in 2017 until his departure in 2021, has sadly died at the age of 26.
His family say that the young musician had faced a “long battle with his mental health”. They announced his death through a statement which was shared on social media by the band’s label, Rough Trade Records.
It reads, “It is with deep sadness that we as a family regret to inform you that Matthew Kwasniewski-Kelvin has died after a long battle with his mental health. A talented musician and a kind, loving young man finally succumbed; despite all efforts. Matt was 26 years old. He will always be loved. Please take a moment to check in with your loved ones so we can stop this happening to our young men.”
Rough Trade also added its own statement in the caption: “Rough Trade Records would like to extend deepest sympathy to the Kwasniewski-Kelvin family who have shared this statement on the tragic passing of founding black midi member Matt – an incredibly talented person who will be truly missed,” it says.
“If you are struggling with mental health issues please reach out to your loved ones or one of the range of charities such as Mind, CALM and Samaritans who provide services and someone to talk to in any time of need.”
Kwasniewski-Kelvin co-founded the band in 2017 while attending London’s BRIT School alongside members Geordie Greep, Cameron Picton, and Morgan Simpson. In early 2021, he stepped back from the band to focus on his mental health.
In their early days of gigging, the band established a residency at the Windmill in Brixton. It was here they met producer Dan Carey, who worked with them on their debut album, Schlagenheim. The venue has also released a statement regarding the tragic news in what it calls “the hardest post” it’s ever had to make.
“Our deepest condolences to his dad Tony (who came to loads of the early Black Midi shows) and the rest of the family. It’s so so emotional thinking back to those really exciting times when Matt would come in for soundcheck after a day’s work inspecting air vents (hence, the song Ducter) and produce some of the best sounds our little stage had ever witnessed, including this night with the late Damo Suzuki,” it reads.
“While it might look like someone has the world at their feet and all is great, things are not always what they seem. So please look and read the message from his family on slide two and keep checking in on each other so that we can all help to avoid tragic gut-wrenching news like this. RIP Matt, you were such a lovely guy.”
In 2019, Geordie Greep spoke to Guitar.com, in which he explained why the sound of their debut was not restricted by genre: “At first we were much more conscious of the style of music we wanted to make and were careful not to let it fall into certain taboo genres. But as we played more and more, we stopped thinking about all that and did only what we found interesting in one way or another, sometimes without knowing why. This yielded better results,” he said. Black Midi entered an indefinite hiatus in August 2024.
If you’re struggling with your mental health, you can find a full list of helplines via Mind. You can also search for support in over 130 countries through Find A Helpline.
The post Black Midi guitarist Matt Kwasniewski-Kelvin has died at 26 after mental health battle appeared first on Guitar.com | All Things Guitar.
Slash used specially designed pickups at Black Sabbath’s final show – now he’s releasing them as a signature set with Seymour Duncan
If three is the magic number, then Slash’s third collaboration with Seymour Duncan might just prove to be the Guns N Roses legend’s best set of pickups yet. The Slash 3.0 Pickups Set serves as rock legend’s most “aggressive” signature set to date, created especially for Slash’s appearance at Black Sabbath’s historic Back To The Beginning gig last July.
For over four decades, Slash has put his faith in Seymour Duncan pickups. From his first signature set, to the Slash 2.0 set’s bold, stadium-suited grandeur, each set of humbuckers has upped Slash’s game. In order to impress Ozzy Osbourne and the gang, Slash needed some extra oomph; the guitarist wanted new pickups for his Gibson SG.
The Slash 3.0 is vintage-inspired and built with rough cast Alnico 5 magnets, allowing guitarists to dish out tighter lows, while also offering a more instant attack.
Slash describes the hand-built humbucker as a “step up” in his line. “You have more output, but still that same clarity and honesty of the sound of the guitar,” he explains in a promo clip. “The 3.0 is obviously a little bit raunchier than the 2.0… it gives that extra boost that I need in certain guitars.”
“I’ve got the best of all worlds now because I have my original Slash pickups that I’ve been using on most of my guitars forever, [as well as the] 2.0 and the 3.0 for different guitars and different situations where it calls for that,” he goes on to add.
As Slash notes, “pickups are really personal”, and Seymour Duncan has yet again helped him express his true sonic personality. “It really depends on the guitar player… if you want to get just a little bit more kick-ass out of your guitar sound, but you still want clarity, definitely try a 3.0.”
The set is also available to feel even more personal thanks to its multiple configurations. The set offers both single or four-conductor wiring, as well as standard or Trembucker spacing, and long and short-leg options.
In terms of pricing, you can get a pair of Slash 3.0s for $258, while each single pickup costs $129.
Learn more at Seymour Duncan.
Credit: Seymour Duncan
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Looking for your first headless guitar? Save big on Strandbergs at Sweetwater right now
If you’re looking for a sign to buy your first headless guitar then let this be it – Sweetwater is offering a range of huge deals across Strandberg Boden models, including its Standard and Essential variations.
There is a generous range of Strandberg deals available, with some saving you over $300. The Boden Essential 6, which we reviewed back in 2024 and rated a perfect 10/10 no less, is one of many of its headless guitars that you can save your pennies on.
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The Boden Essential 6 is a six-string, conventionally fretted model that acts as a gateway into the headless guitar world thanks to its lower price point, as opposed to the majority of its more high-end models.
Just as its name suggests, this guitar may not offer fancy paintwork or any spectacular bells and whistles, but it does offer all the necessities, and is super lightweight at just 4.7lbs (2.15kg).
Fitted with Strandberg’s in-house-designed OEM humbuckers, these guitars can handle “squeaky cleans and gut-punching grind”. The finishes on sale via Sweetwater include Black Granite, Future Dusk (lilac), and Galactic Blue.
To shop all deals on these Essential 6 models and more across the Strandberg range, head over to Sweetwater.
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Mark Tremonti names his five favourite extreme metal guitar players
Most people wouldn’t characterise Mark Tremonti as an extreme metal shredder. Famed for his work in multi-Platinum-shipping hard rockers Creed and arena-filling alt-metal outfit Alter Bridge, he’s far more synonymous with soulful ballads and intense, immediate hooks. But it’s not a career that he envisioned for himself.
- READ MORE: Trivium’s Matt Heafy names the five up-and-coming metal bands everyone needs to watch in 2026
“When I was younger, I thought I’d be in a band that was, like, a metal band,” the guitarist says. “The first sign was my long hair. I had long hair and it looked terrible. I wanted to be that long, straight-haired, head-banging, Flying V-shredding, speed metal guy.”
Plans changed when Tremonti co-founded Creed with bassist Brian Marshall, drummer Scott Phillips and vocalist Scott Stapp in 1994, but his passion for the heavier end of metal did not. While playing guitar on such earnest anthems as With Arms Wide Open and Higher, he continued to harbour a love for the likes of Metallica, Slayer, Celtic Frost and Kreator. Eventually, Creed imploded and gave way to Alter Bridge, where Tremonti, Marshall and Phillips were joined by new frontman Myles Kennedy, and the guitarist got to unload some groovier riffs and wilder solos. Still, he was dealing in fare so melodic that it didn’t point towards an adolescence as a thrash addict.
Mark Tremonti. Image: Press
“It just so happens that I ran into guys in college who weren’t into metal, so we did different styles of music,” Tremonti reflects. “Even in Alter Bridge, because I’m with the same rhythm section, when I come in with a metal riff, they kind of look at me funny.”
The guitarist also admits he’s more focussed on writing a good chorus than an intense knock-about section. “The chorus is arguably the most important part of any song,” he says. “So, if you start there and you have a great chorus, everything else will just boost that great chorus. But, if you don’t have a chorus and everything else is great, it’s never going to be a great song.”
Mercifully, Tremonti has his namesake solo band Tremonti on the side, where’s he free to let breakneck guitar parts fly with abandon. Also, the new Alter Bridge album has its fair share of gnarly moments. Self-titled for a reason, the platter explores the full breadth of the band’s sound, with songs ranging from acoustic ballads to white-knuckle ragers.
Alter Bridge. Image: Press
“Trust in Me is probably my favourite riff,” Tremonti says of the new album. “It actually has two of my favourite riffs. It has the main intro riff chugging part. I like something that can be heavy and slow at the same time. It sounds just like a train coming down the tracks that’s going to get you. And then the bridge and the outro of that song has a finger-picked part that I feel sounds very Alter Bridge. It’s something that feels big, but not poppy big.”
Frankly, Tremonti’s passion for the most brutal end of metal music is one of his most underrated characteristics. So, we asked him to list his favourite extreme metal guitar players. As he rallies off names from Dave Mustaine to Hank Shermann and Michael Denner, his passion for the extreme becomes very, very obvious.
Kerry King and Jeff Hanneman, Slayer
“Kerry King and Jeff Hanneman from Slayer, as far as riffs go, I think they’re my favourite writers of all time. Reign in Blood is probably the best riff record in all of the metal world: an incredible record.
“I think I discovered Slayer in seventh grade. My older brother, he was into extreme metal. My other brother was into more, like, Van Halen and Kiss and Ted Nugent and stuff, but my brother Dan had the Reign in Blood record. Back then, when you heard music like that, it was scary! It was like, ‘Ooh, this is intimidating music! This is edgy! I don’t want my parents to catch me listening to this,’ you know? And the kids at school that listened to it were the bad kids who’d be smoking weed. It drew me in. When I heard [opening song] Angel of Death, just the first 10 seconds of it, I was just like, ‘This is incredible!’
“Still, to this day, Reign in Blood is one of the most important records – probably in my top five records ever. Kerry and Jeff’s speed metal, right-hand-rhythm stuff, that spilled over [into my playing]. If you listen to Tremonti, there’s a lot of that – much more than in any of my other bands. But, that’s what I grew up on.”
Tom G. Warrior, Hellhammer / Celtic Frost / Triptykon
“As far as the chord progressions and the mood and the doom and the vibe, Tom G. Warrior is one of my favourite songwriters ever. I think he’s an absolute genius. I had a friend called John Hitchon back in sixth or seventh grade, and he would burn tapes and make copies of things, and he gave me [1987 Celtic Frost album] Into the Pandemonium. Right out of the gate, Inner Sanctum, first track on that record, I was like, ‘This is something different.’ And then you’d hear such creativity on that record. There are so many different, weird vibes going on.
“To me, Slayer made more sense – I grew up playing Dungeons & Dragons and stuff – but Celtic Frost were interesting. It was dangerous and different, and it was hard to understand the direction of it. I got to meet Tom and he’s great. He knew I had said that Celtic Frost were my favourite band for all of these years, and he thanked me for saying that probably in a million interviews. He said it would be interesting if I got up and played with his band at a festival or something. That would be cool to do.”
Dave Mustaine, Megadeth
“I’ll say Dave, but [I look up to] all of the guitar players who’ve been in Megadeth, especially Chris Poland. I think, when it comes to speed metal, James [Hetfield], Kirk [Hammett] and Dave were the guys who were the outlines for that. Mustaine, he had a fire in him and you could tell the music was intense. He’s underrated as an architect of the speed metal movement.
“[1988’s] So Far, So Good… So What! was the first record I bought from them, and then I went back and got Killing Is My Business… and Peace Sells…. So Far, So Good… So What! means a lot to me because I love that record. I probably wore that sucker out!”
Alex Skolnick, Testament
“When it comes to speed metal bands, Metallica were the biggest of them all, and they were the one that shaped me the most. Back then, I didn’t know who was doing what: James is rhythm and Kirk’s lead, but I loved every bit of it. I loved Alex Skolnick from Testament [for different reasons]. Alex is a big jazz fan, but back in the day you wouldn’t have known it. When he was playing metal stuff, it was dark and it was pointedly speed metal-ish, but it was tasteful. That’s what you could hear in his playing. In a lot of speed metal, the lead stuff was blistering and kind of harsh. His stuff had a smoothness and a polish to it.
“I used to hear rumours, ‘Oh, Skolnick’s the best, he’s the best in this genre,’ and you started paying attention to it more. You start buying the records and trying to see if you could learn a few riffs here and there. I was too young to be able to even think about playing his lead parts!
“If you were to ask me for my favourite Testament riff or solo, [1989’s] Practice What You Preach has them all. Trial By Fire [from 1988’s New World Order] is the song that got me to be a Testament fan, but I’d have to go back through Practice What You Preach and find the one.”
Hank Shermann and Michael Denner, Mercyful Fate
“The guys from Mercyful Fate were some of the most classic [guitarists]! For me, they just embodied that era with their tones. I think they were playing the old Marshalls and it just sounded so good! The riffs were so great. King Diamond is one of my favourite artists ever. Mercyful Fate, I remember seeing them at Hellfest or Copenhell, watching them live for the first time. I’d seen King Diamond, but never Mercyful Fate, and it was perfect. It was spot on. King Diamond crushed it; the band crushed it. I got to talk to King Diamond after the show for like half an hour.
“Mercyful Fate wasn’t extreme, blast beat-ey stuff at all. There weren’t a lot of guitar players [like Hank and Michael]. A big part of what I grew up on was Metallica and Slayer: that almost exclusively E-string open picking. The moodier, heavy, detuned stuff was just wanting to get vibes like Celtic Frost, but Mercyful Fate was more, like, almost dreamy and 70s. Moody. It didn’t even seem metal to me. It was more just badass hard rock.”
Alter Bridge’s self-titled album is out now via Napalm.
The post Mark Tremonti names his five favourite extreme metal guitar players appeared first on Guitar.com | All Things Guitar.
Use Pedals As Plugins In Your DAW
RhPf Electronics Introduces Shodhana Overdrive
RhPf Electronics has released the Shodhana pedal, a balanced overdrive designed for players who value clarity, dynamics, and intuitive control. Its original dual-path architecture lets gain and voicing evolve together without tone stacks or switches, delivering a seamless transition from transparent boost to mid-focused drive with strong touch response and natural mix presence. This original circuit continuously morphs from a transparent, organic MOSFET boost into a focused, articulate overdrive using a single Drive control.
Shodhana features include:
• Dual-path gain architecture: Parallel MOSFET boost and overdrive circuits blend dynamically as Drive increases.
• Single Drive control: Simultaneously adjusts gain and voicing without the need for a separate tone control.
• High-mid focused snap: Strong upper-mid bite and fast attack deliver clear mix presence as gain increases.
• High headroom and wide output range: Suitable for pushing amps, stacking pedals, or maintaining clean dynamics.
• Minimal two-knob layout: Drive and Level only for fast, intuitive operation.
• True bypass switching and standard 9V DC operation
• Top-mounted input and output jacks
Shodhana encourages players to work their instrument rather than fight the pedal. As the upper-mid snap builds with Drive, the guitar’s tone control becomes an intuitive way to dial in exactly how much edge and bite you want, whether using it as a wide-open boost or a focused drive.
Like all RhPf Electronics creations, Shodhana is not a clone, mod, or tweak, but a fully original circuit built from the ground up.
Carrying a street price of $179 USD, Shodhana is available at select retailers and can also be purchased directly from the RhPf Electronics online store at rhpfelectronics.com.
DSM/Humboldt Introduces Dumblifier Overdrive Special
DSM/Humboldt Electronics has announced the introduction of its new Dumblifier Overdrive Special delivering the experience of playing a D-Style amp as it really feels.
For decades, guitarists around the world have dreamed of capturing the magic of the mythical Dumble Overdrive Special. Until now, the only way to approximate this experience has been through digital modeling — solutions that may reproduce the sound but always fall short of replicating what truly makes these amps legendary: the feel under your fingers.
The Dumblifier Overdrive Special breaks that barrier. By using their proven analog amplifier modeling technology, DSM/Humboldt has not only recreated the tone but also the unique compression and touch response that makes every note bloom, sustain, and sing — just like on the original amps.
The Dumblifier offers the following benefits:
Analog accuracy: Unlike digital processors, the Dumblifier responds organically to your playing dynamics, delivering the unmistakable “punchy compression” and smooth sustain that Dumbles are known for.
Beyond boutique limitations: Until now, the few available alternatives were extremely expensive and produced only in limited, made-to-order quantities, never intended for mass availability.
True versatility: Other so-called “Dumble-style” pedals are meant to run in front of amplifiers, so the final tone depends mostly on the amp itself. The Dumblifier, however, goes further — it can operate as a complete analog amp replacement with cab-sim and stereo features, or as a two-channel overdrive pedal in front of any rig. Its TRS outputs with cab-sim bypass make it extraordinarily flexible.All-in-one solution: With stereo FX loop, stereo reverb, cabinet simulation, and DI outputs, the Dumblifier is equally at home on stage, in the studio, or in your practice setup.
The Dumblifier is the first true analog solution that captures both the sound and the feel of a Dumble. Packed into a pedal format, it offers all the features gigging and recording musicians demand — without the cost or fragility of a boutique tube amp.
Guitarists everywhere crave the legendary Dumble sound. By making it accessible, reliable, and portable, the Dumblifier unlocks that dream for players worldwide.
Dumblifier is available at an MSRP or $599 ($549 MAP). More information is available at: https://www.dsmhumboldt.com.
Pat Metheny Returns With First New Major Studio Album In Six Years
Acclaimed guitarist and composer Pat Metheny has announced the launch of his new record label, Uniquity Music, alongside the release of his first major studio album in six years, Side-Eye III+. The record marks the first title on the new label, created in partnership with Primary Wave, the parent company of Green Hill Music under the Sun Label Group umbrella, which will also serve as home to reissues of Metheny's entire catalog since 1984 and all future releases.
"My dream for years has been to have a place where all of my work, past and future, could live under a single umbrella - a label of my own," says Metheny. "With the creation of Uniquity Music, that dream has now become a reality. In many ways, I feel like I am just beginning, and I expect the next period to represent the best of where music has led me so far. The new label will feature re-releases of every record I have made since Song X in 1984."
Along with the label's debut comes the February 27th release of Side-Eye III+, the latest evolution of Metheny's Side-Eye project - a concept he first introduced to showcase the next generation of exceptional young musicians who have come onto his radar in recent years. The album features Metheny alongside Chris Fishman on keyboards and Joe Dyson on drums, the trio at the heart of the Side-Eye ensemble that has toured extensively worldwide.
Metheny explains, "Once I got in the studio with the guys, I realized that while the trio concept was perfect for us as a live ensemble, the music I had written was asking for something bigger. That is where the '+' in Side-Eye III+ comes in. I ended up adding fifteen other musicians to the trio — expanding the sonic world of the record far beyond what we had done before."
Recorded in the studio, Side-Eye III+ brings together an additional cast of musicians including bassist Daryl Johns, harpist Brandee Younger, percussionist Luis Conte, and a vocal ensemble led by Mark Kibble of Take 6, creating a richly layered and expansive musical landscape.
“He brought in an incredible group of singers,” Metheny said of Kibble, “and together, we found a sound that has a relationship to the Gospel tradition but I think most people will hear the kinds of harmonies and melodies that identify it as mine right away.”
“Being part of the launch of Uniquity Music while helping usher in SIDE-EYE III+ makes this a special moment for Green Hill,” said Blake Davis, General Manager, Green Hill. “The album showcases Pat’s commitment to collaboration and discovery, and it reflects exactly the kind of thoughtful artistry we’re proud to support. Uniquity creates a home for that spirit to thrive, and we’re thrilled to begin this journey with him.”
Metheny adds, "Musicians often say their new record is their best, and I will take that risk here — this is one of the best records I have ever made.
"Metheny and the Side-Eye III+ band will embark on an extensive world tour throughout 2026.
"There is almost no way to replicate exactly what is on the record with just the trio, nor will that be the explicit goal on this next round,” Metheny says. “But the material on the record can be played a lot of different ways, which is always a good sign. I am already thinking ahead to the next stage of the Side-Eye thing, and the broader palette of this record plus my thoughts about what’s next gave me the idea of bringing in an incredible young bassist from California, Jermaine Paul, and the percussionist and vocalist Leonard Patton, who is a musician I have wanted to include in my thing for years. But the core of the band will remain Chris, Joe, and me — continuing what we have been working on together on the bandstand and in the studio during this really interesting musical time we have shared together."
PAT METHENY: SIDE-EYE III+ WORLDWIDE TOUR DATES
3/2–3 – Jackson, MS – Duling Hall
3/5 – San Antonio, TX – The Charline McCombs Empire Theatre
3/6 – Austin, TX – The Paramount Theatre
3/7 – Houston, TX – Lillie and Roy Cullen Theater at Wortham Theater Center
3/8 – New Orleans, LA – Orpheum Theatre
3/10 – Orlando, FL – The Plaza Live
3/12-13 – Fort Lauderdale, FL – The Parker Playhouse
3/14 – Stuart, FL – The Lyric Theatre
3/15 – Naples, FL – Artis—Naples
3/16 – Clearwater, FL – The Capitol Theatre
3/17 – Jacksonville, FL – Florida Theatre
3/19 – Charlottesville, VA – The Paramount Theater
3/20 – Richmond, VA – The National
3/22 – Nashville, TN – Ryman Auditorium
3/23 – Atlanta, GA – Atlanta Symphony Hall
3/24 – Charlotte, NC – Blumenthal Performing Arts Knight Theater
3/25 – Lexington, KY – Lexington Opera House
3/26 – Knoxville, TN – Big Ears Festival @ Tennessee Theatre
3/27 – Savannah, GA – Savannah Music Festival @ Lucas Theatre
3/29 – Memphis, TN – Minglewood Hall
3/30 – Little Rock, AR – Robinson Center
3/31 – Tulsa, OK – Tulsa Performing Arts Center
4/1 – Dallas, TX – The Majestic Theatre
4/3 – St. Louis, MO – The Sheldon Concert Hall
4/4 – Kansas City, MO – Kauffman Center for the Performing Arts
4/7 – Boulder, CO – Boulder Theater
4/8 – Omaha, NE – Kiewit Concert Hall
4/9 – Madison, WI – Wisconsin Union Theater
4/10 – Indianapolis, IN – Clowes Memorial Hall of Butler University
4/11 – Cincinnati, OH – Taft Theatre
4/12 – Milwaukee, WI – Pabst Theater
4/14 – Royal Oak, MI – Royal Oak Music Theatre
4/15 – Newark, OH – Midland Theatre
4/16 – Columbia, MO – Missouri Theatre
4/17 – Chicago, IL – Symphony Center
4/18–19 – Minneapolis, MN – Dakota
4/21 – Ketchum, ID – Argyros Performing Arts Center
4/23–26 – Seattle, WA – Dimitriou’s Jazz Alley
4/27 – Vancouver, BC, Canada – The Centre in Vancouver For Performing Arts
4/28 – Portland, OR – Newmark Theater
4/29 – Eugene, OR – The John G. Shedd Institute For The Arts
5/1 – San Francisco, CA – The Masonic
5/2 – Sacramento, CA – Crest Theatre
5/3 – Santa Cruz, CA – Rio Theatre
5/4 – Los Angeles, CA – Walt Disney Concert Hall
5/5 – Santa Barbara, CA – Lobero Theatre
5/7 – Irvine, CA – Irvine Barclay Theatre
5/8 – San Diego, CA – Humphrey’s Concerts By The Bay
5/9 – Chandler, AZ – Chandler Center for the Arts
6/6 – Flensburg, Germany – Deutsches Haus
6/7 – Lübeck, Germany – Musik-und Kongresshalle Lübeck
6/8 – Hamburg, Germany – Laeiszhalle
6/9 – Wroclaw, Poland – National Music Forum
6/12 – Katowice, Poland – National Polish Radio Symphony Orchestra
6/13 – Warsaw, Poland – Palladium
6/15 – Berlin, Germany – Admiralspalast
6/17 – Munich, Germany – Isarphilharmonie
6/18 – Dortmund, Germany – Konzerhaus Dortmund
6/19 – Freiburg, Germany – Konzerthaus Freidburg
6/20 – Nuremberg, Germany – Serenadenhof
6/21 – Frankfurt, Germany – Jahrhunderthalle Kuppelsaal
6/24 – Zürich, Switzerland – Volkshaus
6/29 – Wien, Austria – Wiener Konzerthaus
7/2 – Udine, Italy – Castello di Udine
7/5 – Rome, Italy – Cavea Auditorium Ennio Morricone
7/6 – Pompei, Italy – Anfiteatro degli scavi
7/7 – Giulianova, Italy – Arena del Porto Turstico
7/9 – Milano, Italy – Teatro degli Arcimboldi
7/18–19 – London, UK – Barbican
7/25 – Donostia, Spain – Kursaal
Hot from the oven: this polishing mitt from D’Addario is the guitar accessory you didn’t know you needed
On this week’s episode of ‘guitar accessory or kitchen utensil’, we have a new guitar polishing mitt from D’Addario that wouldn’t look out of place among your finest collection of oven gloves.
As a guitarist, you’ll know the dust and other muck that can accumulate on your guitar with moderate to heavy use. And sure, a conventional cloth is usually enough to tidy up your instrument, but if you’re anything like us, you’ll have wished your whole life for a mitt you could wear to do the job instead.
The Micro-Fiber Polishing Mitt is a reusable, chemical-free cleaning tool you can wear on your hand to remove dust, dirt, oils and smudges from your guitar.
Made using ultra-fine microscopic fibres, the mitt is designed to give guitarists “maximum control” when cleaning hard to reach areas like under strings, around hardware and tuning pegs, or inside cutaways. It can also be used to wipe down strings to extend their lifespan and preserve tone.
Credit: D’Addario
Of course, it’s essentially just a cleaning cloth in the form of a glove, so can also be used to wipe down other instruments including keyboards and even drum kits.
And the best part? It’s both reusable and machine washable, so you can say goodbye to filthy guitars for good.
We’d recommend, perhaps, keeping the Micro-Fibre Polishing Mitt away from your oven glove collection, as a mixup may end up proving painful…
The Micro-Fiber Polishing Mitt is available now, priced at just $7.99.
For more information, head to D’Addario.
The post Hot from the oven: this polishing mitt from D’Addario is the guitar accessory you didn’t know you needed appeared first on Guitar.com | All Things Guitar.
We rated Universal Audio’s Paradise Guitar Studio plugin 8/10 – get it now at 25% off for today only
Today is your final chance to grab Universal Audio’s Paradise Guitar Studio plugin with 25% off.
Available from Plugin Boutique for £132 while the offer lasts, Paradise works with the DAW of your choice and was described by Universal Audio at its launch as “the most complete ‘end‑to‑end’ virtual experience we’ve ever built”.
[deals ids=”5PFwrayUX2f1KDJoSA5850″]
Given that the plugin arrived in December 2025, it’s still relatively new, meaning a deal like this one isn’t so common. We reviewed Paradise Guitar Studio following its launch, and gave it an 8/10 as it nailed all the basics.
We said that it offered a simple interface, top-quality amplifier sounds, and included all major effect types. We did, however, not recommend it for the high-gain guitarists out there, and noted that its simplicity means there are limited tweaking options.
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The plugin was essentially made to be a gateway to the studio of your dreams, offering everything you need for a pro guitar recording chain, including its acclaimed UAD guitar amp emulations along with classic cabinets and mics, pedals, and studio effects – all built upon its analogue modelling.
Inside, you get 11 hand-picked vintage and modified tube amps, over 300 presets – spanning genres such as rock, blues, indie, funk, and pop – as well as a generous range of effects like 1176 compression, vintage tape echo, and more.
Find out more in the video below:
Today is your last chance to shop this deal. Head over to Plugin Boutique to find out more.
The post We rated Universal Audio’s Paradise Guitar Studio plugin 8/10 – get it now at 25% off for today only appeared first on Guitar.com | All Things Guitar.
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