Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
Norse Guitar Feeds
Ernie Ball Music Man New at NAMM: 2026
the 50th anniversary Stingray bass
For five decades, the StingRay has set the benchmark for bold, forward-leaning bass tone. The Ernie Ball Music Man 50th Anniversary StingRay Special honors that legacy with two limited-edition finishes. Liquid Gold is hand-numbered and limited to 50 instruments worldwide, featuring a striking golden reflective pickguard for a truly exclusive presentation. Molten Gold, limited to 300 instruments, showcases a metallic gold finish on the body and headstock—each with its own unique character. Both versions are paired with an ebony fretboard with gold face dot inlays and glow-in-the-dark side markers for effortless navigation on any stage. A roasted flame maple neck and poplar body deliver a fast, comfortable, and perfectly balanced feel, while gold hardware throughout, including a 50th Anniversary-stamped bridge, completes the look. Finished with a commemorative 50th Anniversary silkscreen on the back of the headstock, each bass ships in a deluxe hardshell case with a certificate of authenticity.
The 50th Anniversary StingRay 4 Special in Molten Gold will be available at all Ernie Ball Music Man retailers, and the Liquid Gold colorway will be available exclusively in the Ernie Ball Music Man Vault this spring.
THE darkray II
The DarkRay
II bass expands on the aggressive, modern foundation of the original DarkRay by adding fully integrated octave up and octave down effects for an even broader sonic palette. Featuring the same core specs players know and trust, the DarkRay II includes a master volume, bass and treble EQ, a distortion control with a push/push function to switch between two distinct distortion voices, and an octave control with a push/push function to select octave up or octave down. Both the distortion and octave knobs feature LED rings that illuminate when engaged and change color to indicate the selected mode, providing instant visual feedback. A three-way switch selects the core tone, octave only (middle position), or octave combined with distortion (neck position), making it easy to move from tight, punchy bass tones to massive, harmonically rich textures. Available in Black, Showtime, Spectralite, and Mean Green Burst, the DarkRay II delivers uncompromising tone, cutting-edge functionality, and unmistakable Ernie Ball Music Man style. The DarkRay II will be available this spring.
THE STINGRAY SPECIAL BASS
First introduced in 1976, the StingRay has been revered as one of the most iconic bass guitars in history. The flagship of the Music Man line, today’s StingRay Special retains the same signature features that it had some forty years ago, including a solid roadworthy construction, iconic oval pickguard, 3+1 tuning key configurations, and the ever-popular Music Man humbucker, all of which combine to produce a look, feel, and sound that is remarkably unmistakable. The StingRay Special will be available in 4 or 5-string in either H or HH pickup configurations. The new StingRay Special finishes will be available this spring.
The John petrucci signature majesty premium select
The John Petrucci Signature Majesty Premium Select delivers refined tone, precision, and versatility at the highest level—the culmination of years of touring and recording during which John Petrucci gravitated toward a mahogany neck-through body with alder wings and a thick maple top for added depth, sustain, and articulation. Features include a 24-fret ebony fingerboard with stainless steel frets, glow-in-the-dark side dots, DiMarzio Rainmaker and Dreamcatcher humbuckers, a piezo-equipped Music Man floating tremolo, stereo/mono outputs, and a 20+ dB onboard gain boost. Available in Carnelian Red, Ka’anapali Dream, Mystic Dream, Purple Nebula II, and Strawberry Moon. The Majesty Premium Select will be available this spring.
THE jason richardson artist series cutlass
Introducing the Jason Richardson Artist Series Cutlass HT 8-String, a bold evolution of the signature line and now available in three striking translucent finishes: Water Temple, Death Mountain, and Kokiri Forest. Designed for modern technical players, this multiscale powerhouse features a 25.5”–27” scale length—from the high E down to the low F#—providing exceptional clarity, tension, and articulation across the full extended range. An alder body with a buckeye burl top is paired with a roasted, figured maple neck and ebony fretboard, delivering a premium feel and outstanding stability. Outfitted with Jason Richardson HT humbuckers, the Cutlass HT 8-String offers crushing output, precise note definition, and dynamic tonal versatility. Additional pro-level features include 24 stainless steel frets, a hardtail bridge engineered for superior sustain and tuning stability, a push/ push volume knob for a 20+ dB boost, and coil-splitting via the push/push tone control. Engineered for players who demand peak performance and expressive range, this 8-String expands the sonic possibilities of the Jason Richardson platform like never before. The new Jason Richardson Artist Series Cutlass colorways will be available this spring.
The 30th anniversary axis
Introducing the 30th Anniversary Axis guitar. To mark 30 years of the Axis, we’re revisiting the translucent finishes that defined its 1996 debut—Translucent Gold, Black, Pink, Red, Blue, and Purple—applied to hand-stained quilt maple tops and paired with black, lightly sparkled backs that subtly echo each color. Each guitar features a figured maple neck with stainless steel frets, glow-in-the-dark side dots, the original asymmetrical neck carve, and the sought-after DiMarzio® custom-wound pickups that helped define the Axis feel and sound. Finished with a color-matched headstock face, a 30th Anniversary Axis logo on the back, and limited to 90 Gold, 60 Black, Pink, and Purple, and 30 Blue and Red instruments worldwide, every guitar ships with a certificate of authenticity and a deluxe Music Man® hardshell case. The 30th Anniversary Axis Guitar will be available this spring.
THE custom design experience
The Ernie Ball Music Man Custom Design Experience has expanded with 14 new finishes, offering even more ways for players to create their own custom StingRay bass. The Custom Design Experience is an online custom instrument configurator that allows customers to design and build their dream StingRay Special Bass guitar. Customers can choose from 4-string and 5-string models, right- and left-handed orientations, single- and double-humbucking pickups, finishes, necks, pickguards, hardware, tuning, case options, string gauges, and more. All Custom Design Experience instruments are built in the Ernie Ball Music Man San Luis Obispo, CA, facility and are shipped directly to the customer. The new Custom Design Experience finishes are available this spring.
Casio Introduces Dimension Shifter Guitar Strap Controller
Casio has announced the debut of Dimension Shifter, a groundbreaking performance tool that enables guitarists to wirelessly control effects, pedals, and other gear through natural movements of their guitar strap.
First previewed in 2024 under the name Dimension Tripper, this innovative device seamlessly integrates into a standard guitar strap and, using a proprietary control system that harnesses strap tension and spring return force, translates a player’s movements into real-time control of effects parameters. Whether tilting the neck to swell a delay, raising the body for a filter sweep, or leaning back to unleash distortion, Dimension Shifter opens a new world of expressive, intuitive stage performance; no hands required. Because control data is transmitted wirelessly, players can operate the effects on their pedalboard from anywhere on stage, and when used alongside their existing expression pedal(s), they can control multiple parameters simultaneously for more complex sound design.
- YouTube
Dimension Shifter wirelessly connects to a pedalboard receiver, eliminating the need for extra cables and enhancing stage mobility. Musicians can assign specific effects parameters to strap movement, unlocking new interactive performance possibilities. Dimension Shifter is fully compatible with popular pedals, multi-effects units, and DAWs, providing players with maximum flexibility to integrate it into their setups.
The introduction of Dimension Shifter showcases Casio’s long-standing tradition of innovation in musical instruments that goes far beyond keyboards and digital pianos. Since the 1980s, the company has released groundbreaking products that have changed how musicians interact with technology. These include the DG and PG series guitars, which combine traditional guitar playability with advanced MIDI control, the DH Series Digital Horns, breath-controlled wind instruments with built-in synthesis, and the RZ-1 Drum Machine, one of the first affordable models to feature user sampling.
From the pocket-sized VL-Tone synthesizer, which uniquely combined a calculator with music creation, to hybrid MIDI guitars and digital wind instruments, Casio has consistently pushed the boundaries of musical expression. Dimension Shifter continues this innovative tradition, offering guitarists a new platform that transforms their performance and creativity.
“For more than 40 years, Casio has expanded the possibilities of musical creativity through technology,” said Brian Piccolo, Senior General Manager of Sales for Casio’s Electronic Musical Instruments Division. “With Dimension Shifter, we’re giving guitarists an entirely new way to interact with their music, merging the energy of live performance with the precise control of digital effects. It truly transforms how a guitarist commands the stage.”
Key Features of the Dimension Shifter
Motion-based control – Use natural guitar strap movements to control effects.
Wireless freedom – The lightweight transmitter attaches between the guitar and strap, and instantly pairs with a compact receiver pedal.
Broad compatibility – Compatible with various pedals, effects processors, and digital rigs.
Customizable mapping – Assign movements to control parameters like reverb depth, delay time, wah position, or volume.
Versatile modes – Use strap gestures to toggle effects on and off, switch channels, or change a preset.
Performance-ready design – Built for durability and seamless integration into any guitarist’s setup.
The Casio Dimension Shifter carries a street price of $389.99.
Casio Dimensions Shifter Wireless Expression Controller
Strandberg and Jamstik partner on a headless electric guitar with MIDI functionality
In one of the most innovative new offerings to be revealed at NAMM 2026, Strandberg has partnered with Jamstik for a new MIDI technology-infused headless electric guitar.
The Strandberg x Jamstik Chameleon MIDI Guitar is essentially a traditional analogue electric guitar (well, ‘traditional’ might be a stretch – it is Strandberg, after all) with MIDI functionality. The instrument aims to empower guitarists not only in playing, but in composing, producing, transcribing and other areas of modern digital music creation.
- READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet
Via its onboard MIDI functionality, the Chameleon MIDI Guitar allows players to control software instruments, hardware synthesizers, as well as other digital production tools.
In terms of connectivity, the guitar features a USB-C input for direct computer and DAW integration, TRS-MIDI for controlling hardware synths without a computer, and even Bluetooth functionality for wireless configuration and real-time setting adjustments via mobile devices.
“By embedding our MIDI technology into Strandberg’s guitars, we’ve built an instrument that supports modern creative workflows while still feeling unmistakably like a world-class guitar,” said Jonathan Keller, Senior Engineer at Jamstik.
“Strandberg’s craftsmanship and ergonomics gave us the ideal foundation to make MIDI feel expressive, musical, and completely natural to play.”
Credit: Strandberg
Aesthetics include a “chameleon-style” finish which subtly shifts between purple, green and graphite tones depending on the lighting.
“Strandberg guitars are designed to remove friction between the player and their ideas,” says Ola Strandberg, Founder and Creative Lead at Strandberg Guitars.
“This collaboration with Jamstik extends that philosophy into the digital domain, giving players new creative possibilities.”
Each guitar includes access to Jamstik Creator, Jamstik’s companion software for configuring MIDI behaviour, sensitivity, tuning options and performance settings.
The Strandberg x Jamstik Chameleon MIDI Guitar is priced at $2,199/£1,799, and is available now as a limited pre-order via Jamstik and Strandberg. The first batch is scheduled to ship early spring 2026.
If you’re heading to NAMM 2026, you can also visit Strandberg at Booth #5414 and Jamstik at Booth #9907.
The post Strandberg and Jamstik partner on a headless electric guitar with MIDI functionality appeared first on Guitar.com | All Things Guitar.
PRS Guitars Announces New Limited Silver Sky Colorway
The first Silver Sky to have a matching painted headstock.
PRS Guitars today announced the Silver Sky Wild Blue Limited Edition. This is the first Silver Sky to have a matching painted headstock. Up to 1,000 pieces will be available worldwide in 2026. Wild Blue now joins the ranks of only two previous limited-edition Silver Sky colors: Nebula and Lunar Ice.
“As a watch collector, turquoise blue is a color that has always evoked excitement, so a limited edition Silver Sky in turquoise is the perfect crossover. I hope it brings a smile to both guitar players and watch enthusiasts alike,” said John Mayer.
Wild Blue was prototyped early on in the PRSxJohn Mayer relationship and has been waiting for its day in the sun since the original launch of the Silver Sky in 2018. Beyond the new color, this is the same tried and true Silver Sky familiar to players around the world. It retains Mayer’s signature 635JM pickups, an alder body, 25.5” scale length maple neck, 7.25” radius, and small bird inlays, though the Wild Blue limited will only come with a rosewood fretboard. The full rundown of specs is available on prsguitars.com.
For all of the latest news, click www.prsguitars.com and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.
PRS Silver Sky Limited Edition Electric Guitar - Wild Blue
Jake Shimabukuro Finds Stillness and Nature’s Rhythm on New Acoustic Album Calm Seas, Out January 30
Press Release
Source: Jensen Communications
World-renowned ‘ukulele artist Jake Shimabukuro is set to release his highly anticipated new album, Calm Seas, on January 30, 2026. Blending masterful technique with emotional depth, the acoustic ambient album marks a reflective new chapter in Shimabukuro’s creative journey, one rooted in simplicity, peace, and the quiet strength of connecting nature to the human spirit.
Calm Seas features a collection of 13 original compositions, with 12 additional versions for the digital album. Each track is crafted to evoke cinematic landscapes and meditative soundscapes. The project showcases Shimabukuro’s unmistakable ability to push the ‘ukulele beyond convention, delivering performances that are both technically breathtaking and deeply personal.
“Calm Seas was an eye-opening and healing project for me. It rekindled my connection and relationship with nature. As a kid, I spent a lot of time outdoors, swimming in the ocean, camping in the mountains. Some of my favorite memories include sleeping on the beach to the sound of the waves, and waking up to the light of the rising sun,” says Shimabukuro.
Recorded in Hawai‘i, Calm Seas features warm acoustic textures, and minimalist arrangements that highlight the raw expressiveness of Shimabukuro’s playing. The record invites listeners to slow down, reflect, and immerse themselves in an expansive musical world.
Shimabukuro added, “Usually, when I think of adding the sounds of the ocean, waterfalls, or the sound of native birds to any music score, I write the music first, and later add the background sounds. However, for this project, we recorded nature first and created the music around it. The sound of the birds and the ocean waves served as the leading melodic content for each piece.”
Songs like “Sounds of Hakalau” was Shimabukuro’s serene tribute to one of Hawai‘i’s most treasured landscapes, the Hakalau Forest National Wildlife Refuge. Blending his signature ‘ukulele artistry with the calls of critically endangered native Hawaiian bird species found nowhere else in the world, Jake creates an immersive, ambient soundscape that transports listeners to the lush rainforest.
In “The Passing Storm,” Shimabukuro crafts an immersive sonic journey that rises from quiet unease to cathartic release. What begins as a sparse landscape of resonant ‘ukulele tones slowly gathers force, layers of texture rolling in like thunder on the horizon. Yet beneath the storm’s power lies reflection; every note feels deliberate, and by the time calm finally returns, you are left with the lingering clarity that follows after the storm.
“This project taught me that sometimes we need to let nature lead the pacing of our lives,” says Shimabukuro. “When we are able to align ourselves with nature’s key center and rhythmic tempo, we can live more harmoniously with everything around us. I hope listeners feel a sense of peace and connection when they hear this album.”
Shimabukuro will be back on the road in March 2026, promoting his recent projects. Dates and ticket information can be found at https://jakeshimabukuro.com/.
Calm Seas will be available on all major streaming platforms, with physical copies offered through select retailers and JakeShimabukuro.com. Pre-saves and pre-orders are available now http://jakeshimabukuro.lnk.to/calmseas.
Listen Now:
The Breath Of Life: https://jakeshimabukuro.lnk.to/thebreathoflife
The Passing Storm: https://jakeshimabukuro.lnk.to/thepassingstorm
Sounds of Hakalau: https://jakeshimabukuro.lnk.to/hakalau
Beneath The Waves: https://jakeshimabukuro.lnk.to/beneaththewaves
CD Tracklist:
- Early Morning
- Makapu’u Sunrise
- Wailau
- After The Rain
- Waterfall
- The Stars Are Out
- Let’s Go Home
- Beneath The Waves (With Nature)
- Sounds Of Hakalau (With Nature)
- Calm Seas (With Nature)
- The Breath Of Life (With Nature)
- The Passing Storm (With Nature)
- Beneath The Waves (Part 2 With Nature)
Digital Tracklist:
- Early Morning
- Makapu’u Sunrise
- Wailau
- After The Rain
- Waterfall
- The Stars Are Out
- Let’s Go Home
- Beneath The Waves Part 1 (with nature)
- Sounds of Hakalau (with nature)
- Calm Seas (with nature)
- The Breath Of Life (with nature)
- The Passing Storm (with nature)
- Beneath The Waves Part 2 (with nature)
- Sounds of Hakaiau (short version with nature)
- Calm Seas (short version with nature)
- The Passing Storm (short version with nature)
- Beneath The Waves Part 1
- Beneath The Waves Part 2
- The Breath Of Life
- Sounds of Hakalau
- Sounds of Hakalau (short version)
- Calm Seas (short version)
- Calm Seas
- The Passing Storm (short version)
- The Passing Storm
Jake Shimabukuro | Photo by: Kurt Stevens
2026 Tour Dates:
Feb. 11, 2026 – Honolulu, HI – Blue Note Hawaii
Feb. 12, 2026 – Honolulu, HI – Blue Note Hawaii
Mar. 3, 2026 – Clearwater, FL – Bilheimer Capitol Theatre
Mar. 7, 2026 – Ponte Vedra Beach, FL – Ponte Vedra Concert Hall
Apr. 2, 2026 – Seattle, WA – Jazz Alley
Apr. 3, 2026 – Seattle, WA – Jazz Alley
Apr. 4, 2026 – Seattle, WA – Jazz Alley
Apr. 5, 2026 – Seattle, WA – Jazz Alley
Apr. 17, 2026 – Brownfield, ME – Stone Mountain Arts Center
Apr. 24 – 25, 2026 – Wilkesboro, NC – MerleFest 2026
About Jake Shimabukuro:
Jake Shimabukuro is a world-renowned ‘ukulele virtuoso whose groundbreaking artistry has redefined the instrument for the 21st century. Hailed as the “Jimi Hendrix of the ‘ukulele,” Shimabukuro has captivated audiences across the globe with his masterful technique, innovative spirit, and deeply expressive performances that seamlessly blend elements of jazz, rock, classical, blues, folk, and traditional Hawaiian music.
Born and raised in Honolulu, Hawai‘i, Jake began playing the ‘ukulele at age four, quickly developing a unique style that pushed the instrument far beyond its traditional boundaries. He first gained international recognition after his jaw-dropping rendition of George Harrison’s “While My Guitar Gently Weeps” went viral, introducing millions to the ‘ukulele’s untapped potential.
Over the course of his career, Shimabukuro has released numerous acclaimed albums, collaborated with an array of legendary artists including Bette Midler, Yo-Yo Ma, Jimmy Buffett, Ziggy Marley, and Mick Fleetwood, and performed everywhere from the Sydney Opera House to the Hollywood Bowl and the Kennedy Center. His most recent projects include the Blues Experience album with Mick Fleetwood, a soul-stirring journey through masterful musicianship, capturing the timeless grit and storytelling at the core of blues tradition. And Tis The Season, Shimabukuro’s first ever holiday album of festive classics to capture the magic of the season.
Beyond the stage, Jake is a passionate advocate for music education and community outreach, frequently performing at schools and benefit concerts to inspire the next generation of musicians. Whether playing an intimate solo show or headlining with a full band, Shimabukuro continues to prove that the ‘ukulele is an instrument of infinite possibilities, one that speaks a universal language of joy, connection, and hope.
CONNECT WITH JAKE SHIMABUKURO
WEBSITE | INSTAGRAM | FACEBOOK | X | TIKTOK | YOUTUBE
The Wood Wants to Speak: The mandolin-building team of Will and Wes Wienman
In Valley Hill, North Carolina, 20 miles outside of Asheville, Will and Wes Wienman have quietly but quickly carved out a niche as highly respected mandolin builders. Referring to their sound and process as “Vintage by Design,” the first mandolin to leave the confines of their home shop made it into the hands of Jarrod Walker, mandolinist for Billy Strings, and they’ve been off to the races ever since.
The Wienmans’ music history goes back to the 1970s, when Will Wienman’s fascination with violins got him started as a violin dealer and repairman after college. Annual trips to the largest violin auctions in the country introduced him to a wide variety of violins. At the same time, he was learning about and acquiring mandolins, mandocellos, pre-war guitars and all manner of history’s best offerings from Gibson and Martin, as well as then-new-on-the-scene builders like Gilchrist. In the early 1980s, when his son Wes was an infant, Will acquired a 1924 Gibson Loar F-5—an early version with the fern headstock inlay—that would make its way into George Gruhn and Walter Carter’s Acoustic Guitars and Other Fretted Instruments. Though he eventually sold the Loar, Will always maintained an interest in the voice and construction of mandolins.
The idea of building professional-level mandolins had been in the back of Will Wienman’s mind for decades, ever since building his first mandolin in the late 1970s. He knew he’d need help, because he doesn’t believe he has all the attributes he considers required to turn out the master-quality instruments he envisioned (almost infinite patience, steady hands, the ability to spend countless hours in the shop day in and day out). Regardless, he was bitten by the bug and continued studying and experimenting with instrument sound, primarily by re-graduating, voicing and fitting bass bars inside over 100 violins. He even built a mandolin that had an easily removable top so he could change one aspect of the instrument at a time and observe the results. He also started buying high-end spruce and maple in the early 2000s, knowing that one day he’d find the partner who could bring to life the sound and design Will envisioned. At the time, Wes was a teenager with little interest in building mandolins.
Fast-forward to 2014, and Will had relocated to western North Carolina, living on his own in a house with a workshop, lots of tools and lots of aged tonewoods. Wes was in his early 30s and living in Florida, but he was open to a change of scene. The two began exploring the idea of making mandolins, and soon Wes joined his dad in North Carolina.
Will and Wes have fairly different personalities yet complementary skills, which is apparent when they are interviewed together. It becomes clear that their partnership building mandolins is about more than familial convenience. Speaking to Wes, Will notes Wes was always “fascinated by sound.”
“Let’s be honest—you turn your own drum edges. You shape your own piano felts. You mod your own microphones.”
Wes began to think about his own skills and dispositions: “People have to do things for a living, but it turns out I was fired from every desk job I ever had.” He nonetheless realized that he has a deep capacity for focusing on one thing for long stretches of time—the kind of patience required for building carved instruments. “You can’t be in a hurry. You can’t get mad at inanimate objects.”
Will agrees. “His ears are really good. His hands are really steady. He’s really good with numbers, he can envision the geometry of 3-D shapes, and he’s really meticulous. And he’s absolutely relaxed about going slow and getting things right. And that’s what it takes to build a mandolin. If you’re going to build something really good, you just gotta be willing to stick with it.” Some of those things are likely natural gifts. And some are probably the product of osmosis from growing up in a household with a violin dealer and instrument repairman.
Regardless, with more than a hint of sarcasm, Wes responds, “So I figured, what better to do in my mid-30s than move up here and move in with my dad?”
Building Mandolins
The Wienmans’ workshop is full of the usual tools (many hand-made to accomplish specific tasks), dehumidifiers, jigs and raw materials that high-end luthiers are expected to have. But there is also a sizeable collection of files and pictures and historical materials about artisan-made instruments. Plaster casts of early 20th-century Gibsons. Graduation maps and technical drawings of several Loar mandolins. Tracings of various holy grail instruments. Files full of notes about world-class mandolins from the Loar era to the present. A perfect lab for Wes and Will to begin the inductive process of designing and building modern instruments inspired by vintage tone. There’s a reason the Wienmans call their mandolins “Vintage by Design.”
While Wes honed his artisanal skills, Will was involved in the big picture: “I knew how the tops should be graduated, how to get the tone bars to fit, what kinds of wood to use, how to tune the wood to itself…and the finish.” Basically “how to know when the wood wants to speak.” Wes likens those first years that he was in the shop to an anecdote in Ravi Shankar’s book about playing sitar: “He was recounting how he learned, and the first thing they would make you do is learn to sit in a lotus position for like a year, before they even put a sitar in your hands.” The first two years or so were dedicated to planning and design and good old trial and error. After a while, “we thought that, once we spent this much time doing it, we might as well spend even more time doing it, just to see it through. I knew it could be done. I knew we could do it. I just knew it.”
Spending time with the Wienmans, it is evident that this is much more than a business venture. Their partnership is fundamentally existential and based on intuition, rather than based on a business plan designed by an MBA. They didn’t start doing this to provide something no other builder was doing, or to take advantage of a market inefficiency or opportunity. Instead, Will says, “I know how it feels to have an instrument that just inspires you. I know what it is like to have an instrument in your hands that will do whatever you ask it to, whenever you ask it to—one that, when you play it, you find yourself doing things you didn’t even know you could do. That was my vision and my passion, and I knew we could do that.”
The Loar Mystique
One model of mandolin looms large over any builder of high-end mandolins primarily used for bluegrass: the F-5 model designed by Gibson, and more specifically, the 250 or so F-5 mandolins built under the oversight of Lloyd Loar in the early 1920s. Advertisements and forums and review videos are replete with strong opinions about how similar a particular modern mandolin may be to these mythic forebears. As for the Wienmans, while the majority of their mandolins built to date are heavily influenced by and in the Florentine F-5 style of the 1920s, there is a lot of nuance to how they think about the influence of Loar mandolins on their process.
“I’ve owned a ’24 Loar and have been studying them since about 1978,” says Will. And along the way he had friends with several Loars that he had the opportunity to measure and examine closely. Comparing these Loars side by side (and more since), Will was astounded how different they can be instrument to instrument—not only in voice, but also in construction. “I’m seeing these minor differences in the graduation of tops, side depth, break angle, neck shape and the arching of the back from Loar to Loar.” The real eye-opener for Will was when he had the opportunity to study six Loars at the same time: “They all had something special, but they were all a little different.” Accordingly, you’ll never hear the Wienmans say their mandolins are “built to Loar spec” (though that won’t keep you from finding the occasional aftermarket listing of a Wienman that describes it that way…).
“If you want to build an instrument that responds like a 100-year-old instrument within just a few years, you can’t build it like it was built 100 years ago,” says Will. This has led Will and Wes to slightly deviate from some of the most general Loar specs: The plane of the arching is different, the break angle and the way the neck attaches are different, the necks tend to be thicker and less v-shaped, and they tend to carve tops so that the symmetry of the graduations are different than those observed in many Loars.
“In general, I’d say that those early Florentine examples followed more of the German school of violin making, whereas our mandolins are influenced more by the Italian school. Regardless, what we really wanted was that response and that power and the ability to finesse” that the best Loars have, and they believe the trade-offs above help them find the sound that has made their F-5 Artist mandolin model so desired. Without a doubt, their admiration for the Loar era of mandolins is evident in every mandolin they have built, including recent mandolins modeled from the voices of some very specific Loars.
The First Wienman Sale
The story of how the Wienmans sold their first mandolin is one of those amazing quasi-mythical stories that seems possible only in Nashville, especially when told by Will Wienman, but it’s true.
“To our ear, we thought our first three mandolins were just incredibly responsive and balanced and powerful, but we’re not professional players. We thought the finish was good too, but you know…we were in a bubble. So we went to Nashville because we wanted to see how our mandolins stood up against all of the mandolins. We had no intention of going to Nashville to sell mandolins. As a matter of fact, none of those first mandolins even had labels in them.
“We made an appointment with George Gruhn at Gruhn Guitars. When we got there, he sent Greg Voros, one of the managers at Gruhn, down to look at our mandolins. He looked at our F-5 mandolin, then he went away and he came back down and said, ‘George wants to see your mandolin. Come back after lunch.’”
When they returned, after a few hours of George Gruhn and the Wienmans comparing their mandolin to a few Loar-era F-5s kept in the famed upstairs of the shop, and George giving them some good-hearted grief about their unrecognizable name on the headstock and a few differences in arching and F-hole shapes, George continued with his obvious interest in the Wienman mandolin. Before they knew it, it was closing time at Gruhn and George asked if he could take one of their mandolins backstage to the Opry that night to show it to some friends. Not wanting to miss the opportunity for their mandolin to get in the hands of seasoned players, the Wienmans quickly filled out a consignment sheet with George, left one mandolin with him and drove themselves and their other two mandolins back to North Carolina.
Legend has it a number of luminary players enjoyed the mandolin left behind in the care of Gruhn. But ultimately, about a month later, Jarrod Walker walked into the upstairs of Gruhn Guitars and made a connection with that Wienman F-5. This was after Jarrod’s stint touring with Claire Lynch and just before he got fully underway as the mandolinist for Billy Strings. Jarrod promptly shot off a message to the Wienmans: “I’m excited to say that I bought your mandolin from George Gruhn today! George took me upstairs and we A-B’d yours with three Loars, a Monteleone, and a handful of Gilchrists. I can honestly say that I preferred the tone of the Wienman over all of them with the exception of one Loar. Even that was a close call. Unfortunately I was short $160,000. I took the instrument home on loan last night, and in the several hours that I played it, it dramatically opened up. The mid-range is out of this world. Balanced, responsive and immediate…I know a good mandolin when I play one, and this one has something special.”
It’s certain that none of the Wienmans or George Gruhn or Jarrod Walker knew that this same mandolin—the Wienmans’ first F-5 (still without a label!)—would, within a few years, be played in arenas and stadiums for hundreds of thousands of fans a year, given the meteoric rise of Billy Strings. Regardless, they all knew that mandolin—and the way the Wienmans were building—was something special.
The Wienman Process: Then and Now
Talking with the Wienmans makes it evident that the combination of Will’s eye for design and Wes’ hands have worked in concert to build mandolins that are consistent from instrument to instrument, both in terms of aesthetics and sound.
Will’s experience in the vintage instrument world over decades has given him an intuitive sense of all manner of instrument design features. And while Will focuses on design ideals, Wes focuses on the slow manual labor required to execute the vision: “It boils down to the pressure of imagining what it’s like to spend so much on an instrument and what [the buyer] expects from it, because I’ve never spent that much on an instrument.”
This combination of the ideal and the practical go hand in hand for Will and Wes. For example, when it comes to knowing when a mandolin is finished, Will says, “When that carved top gets to the point where it wants to speak, then that’s where we slow down…when it really wants to speak, we set it aside and we make tone bars for it. And then we work the tone bars until they really want to speak with the top…and then you get the tone bars talking with each other in this real harmonious, nice sound.”
Wes saw things pretty differently, especially early on: When it comes to carving those last thousandths of an inch from a mandolin top, “you’re inside a cloud of anxiety, and at some point you just have to trust your ears and take it right to the edge but not go over.”
However, in building mandolins full-time since 2017, their process has brought about a consistent product and tone, coupled with those initial aesthetic ideals and meticulous focus. Since those early days, they’ve found efficiencies, built jigs and acquired specialized tools, but it’s still a highly manual process that is a lot more art than science.
At the end of the day, a Wienman mandolin is about Will and Wes’ collective experience, applied to pieces of wood that are by their nature unique, until the point when the wood speaks to them.
Photographs by Trevor Anthony
The post The Wood Wants to Speak: The mandolin-building team of Will and Wes Wienman first appeared on Fretboard Journal.
Gibson at NAMM Kick Off Unveils an All-New Product Range
Press Release
Source: Prime Group PR
Gibson, the iconic global instrument brand that has shaped the sound of generations, returns to the NAMM Show in Anaheim, CA, this week with a powerful statement of 
innovation, craftsmanship, and artist-driven purpose. For more than a century, Gibson has been among the most played and beloved brands worldwide, inspiring legendary musicians and empowering new players across every genre.
With innovation, quality, and renowned craftsmanship at the forefront, Gibson kicks off the year by unveiling an all-new 2026 product range. On Wednesday, January 21, during NAMM Media Day, Gibson will showcase its 2026 lineup and present a special live performance by singer-songwriter Margaret Glaspy. Gibson’s presence at NAMM emphasizes a strong commercial focus and curated experiences for both media and the general public.
From Thursday, January 22, to Saturday, January 24, NAMM attendees can explore highlights across Gibson, Epiphone, MESA/Boogie, KRK, and more. In front of Room #208A, Gibson will present vignettes spotlighting the year’s biggest stories with multiple first-look acoustic and electric reveals. Upstairs in the Creator Lounge Room #303B, media will find hands-on access to instruments and products, podcast studios, and robust content creation opportunities, alongside Gibson Generation Group (G3) performances, product demos, and panels featuring Gibson and Epiphone partners, artists, and creators. In the Pro Audio Hall, in Booth #14112, KRK will debut new monitoring solutions and studio innovations. Interviews and video tours of the Gibson vignette areas are by appointment only; media may request in advance here.
For the public NAMM experience at Room #208A, Gibson Custom Master Artisan Rickie Hinrichsen will demonstrate his handcarving craft, while the Gibson Guitar Throne and an oversized Gibson guitar provide immersive, social-ready photo moments for fans and creators.
“Gibson and NAMM share in our missions to better lives through music and to strengthen the music instruments industry at large,” says Beth Heidt, Chief Marketing Officer at Gibson. “At NAMM, the MI community connects with industry leaders, retailers, influencers, and artists to learn about new products and trends while supporting professional development and nonprofits through the arts.”
The Gibson team will also deliver daily panels during NAMM at the following locations:
Wednesday, January 21:
- NAMM Media Day
- 3:00 PM Hilton Pacific Ballroom — Mat Koehler, Gibson, Vice President of Product, will present Gibson 100 Years of Flat‑Tops, and other key stories for 2026. Mat will be joined onstage by singer-songwriter and Gibson artist Margaret Glaspy for a special guest performance.
Thursday, January 22:
- 12:00 PM at TEC Tracks/Hilton California B — From Studio to Standard: Hit-Boy on Craft, Culture, and Longevity — 3x GRAMMY® Award-winning producer and rapper Hit-Boy and Deston Bennett of KRK Audio Relations join TEC Tracks for a candid fireside chat on staying creative and relevant in a constantly evolving music landscape. He breaks down his process—from beat‑making and collaboration to shaping culturally lasting albums—while reflecting on how new technology, trusted tools, and intentional artistry are guiding his upcoming 2026 project.
- 12:00 PM at Creator’s Lounge 303 B — Jim DeCola, Gibson’s Master Luthier,will take the stage to share how every Gibson electric guitar is meticulously handcrafted in Nashville, TN. His talk will spotlight the company’s time‑honored traditions, the skilled artisans behind the instruments, and the legacy craftsmanship that continues to define Gibson today.
- 12:30 PM at Creator’s Lounge 303 B — Mat Koehler of Gibson will take the Creator stage to present 100 Years of Flat-Tops, exploring the rich history and enduring legacy of Gibson’s acoustic instruments. His talk will highlight the evolution of our flat‑top designs, the craftsmanship behind them, the milestones that shaped a century of acoustic innovation, and the new collections on the way.
Friday, January 23
- 11:00 AM–3:00 PM Creator’s Lounge 303 B — Gibson Generation Group (G3)emerging global artists perform, including Sawyer Lee, Russell Watson, Jayden English, and Zach Krys.
- 6:00 PM Hilton Hotel Pacific Ballroom — She Rocks Awards — Critically acclaimed Gibson artist Margaret Glaspy will be honored with the “Innovator Award” at the 14th Annual She Rocks Awards.
Saturday, January 24:
- 10:30 AM Hilton Laguna AB Ballroom — Solutions for House of Worship — Andrew Ladner, Marketing Manager, Mesa/Boogie, Gibson Amplifiers, Maestro, and KRK. This session explores why Gibson, Epiphone, and MESA/Boogie remain top choices for worship musicians on Sunday mornings and beyond. Covering Gibson’s iconic, time‑tested tones, Epiphone’s exceptional value without compromise, and MESA/Boogie’s versatility from studio to stage, this talk highlights real‑world player experience, the role of modelers and studio monitors in modern worship setups, and practical tools like CabClone
IR for shaping consistent, reliable tone. - 11:00 AM Creator’s Lounge 303 B — Melinda Colaizzi, founder of Women Who Rock, will speak, sharing practical insights on advancing women in music, her experience building and promoting the major annual Women Who Rock benefit concert, creating safe communities for expression, and empowering emerging artists—with actionable takeaways for creators, brands, and industry leaders. Rising alternative artist Black Polish (Jayden “Jay” Binnix)—a Gibson Spotlight Artistfor 2026, will be performing a handful of songs acoustic at the event.
Below is a snapshot of some of the key highlights for Gibson at NAMM, with more to be revealed throughout 2026:
Gibson Acoustics:
Gibson Century Collection
It’s a sound you can feel in your bones. For 100 years, Gibson flat-top acoustic guitars have dominated the airwaves, flowing through our hearts and into our homes. In celebration of the 100th anniversary of the very first Gibson flat-top, we present the Century Collection, a beautiful assortment of 12-fret instruments channeling the minimalist elegance of early 20th century design, offering an easier and more intimate playing experience and rich, warm toes perfect for fingerpicking and vocal accompaniment. Available Spring, 2026, on www.gibson.com.
Gibson L-1 Anniversary Limited Edition
First introduced in 1902 and reinvented as a flat-top in 1926, the Gibson L-1 has an indelible link to the blues. This one-time-only run comprises 100 instruments, each featuring a beautiful Cremona Burst lacquer finish, a thermally aged red spruce top paired with mahogany back and sides, historic 12-fret construction with a 25-inch scale length, a bound ebony fingerboard, and a script headstock logo in mother of pearl. Available next month, on www.gibson.com.
Gibson Custom:
Gibson Custom ES-330 Reissues
The legendary ES-330 is back in the Gibson Custom lineup after an eight-year hiatus, and with more and more of today’s players using direct rigs at home or on silent stages, there’s never been a better time to enjoy the expressive dynamic range and beautiful P-90 tones of a fully hollow Gibson ES model, handcrafted in Nashville, TN, by the artisans at the Gibson Custom Shop. 1959 and 1962 ES-330 Reissue models offer two distinct flavors in vintage-inspired colorways. Available Summer 2026, on www.gibson.com.
Gibson:
Gibson ES-335 ’50s & ’60s
Introduced in 1958, the Gibson ES-335 is the most versatile electric guitar of all time. For 2026, the ES-335 is elevated in our core Gibson lineup with a choice of 50s and 60s-inspired models in vintage-inspired colorways. Handcrafted in Nashville, TN, using the same ES laminate press that was used to build the guitars played by the most iconic artists in music, our new ES-335 50s and 60s models feature era-specific plastics, neck shapes, pickups, and more. Available Summer 2026, on www.gibson.com.
Gibson Les Paul Studio Double Trouble
Hot on the heels of the hugely successful Gibson Les Paul Standard 50s & 60s Double Trouble models comes an even more accessible route to the Double Classic White aesthetic beloved by so many players. Based on the smash-hit Les Paul Studio platform and handcrafted in Nashville, TN, these guitars are as versatile as they are head-turning, with gloss nitrocellulose finishes and Double Classic White Burstbucker Pro pickups with coil tapping for a wide range of tones. Available Spring 2026, onwww.gibson.com.
Also premiering at NAMM are a soulful new Gary Clark Jr. ES‑355 from Gibson Custom, the meticulously recreated Mick Ronson 1968 Les Paul Custom, and the Michael Schenker 1971 Flying V. Add in the Les Paul Custom Long Scale and the refined ’57 L‑5 CES VS Humbuckers GH Prototype, and the range runs deep. Gibson USA counters with the new Victory Floyd Rose®, refreshed Victory Figured models, and the new Mark Morton Les Paul Modern Quilt—each delivering bold style and modern attitude.
Epiphone:
Epiphone Inspired by Gibson
The all-new 2026 Epiphone Inspired by Gibson Collection brings premium feel, refined performance, and iconic design within reach—no matter where you’re starting or where you’re headed. From reimagined icons like the 1959 Les Paul Standard to exciting new platforms like the Les Paul Special Double Cut Figured and “if you know, you know” models like the Explorer 80s EMG, there’s something here for every stage. Available Winter 2026, on www.epiphone.com.
Epiphone Futura Series
Bold by design, the new-for-2026 Futura Series from Epiphone takes the most iconic Gibson body shapes and remixes them with modern, professional-grade features at a price point for every player. Chromashift finishes change color in real time, while stainless steel frets, compound radius fretboards, and ProBucker Ignite pickups deliver the feel and fire to match. Don’t just play. Show up. Available Spring 2026, onwww.epiphone.com.
MESA/Boogie:
MESA/Boogie Custom Configured
MESA/Boogie brings its legendary custom‑built craftsmanship to NAMM with new additions to the Custom Configured collection, honoring a tradition that began with Randall Smith’s hand‑built amps in 1971. Still crafted from scratch in Petaluma with fully personalized options—from premium finishes and exotic hardwoods to custom grilles and hardware—each MESA amplifier is a true reflection of the player behind it. With 19 models already in the lineup, 2026 introduces a standout limited‑edition 90s Dual Rectifier featuring a Rosso Scuderia Red chassis and matching Split Back 4×12, continuing the brand’s legacy of building dream rigs for artists and individualists alike. Available at,www.mesaboogie.com.
KRK:
V Series Five
At NAMM, KRK debuts the first look at the all-new V Series Five—the latest evolution in Gibson’s professional audio portfolio and a milestone in KRK’s nearly four-decade legacy of precision studio monitoring. Since 1986, KRK has set the standard for accurate translation through hallmark technologies such as woven Kevlar® aramid fiber woofers and a scientifically tuned front bass reflex port, and the V Series Five advances that heritage with refined clarity, control, and reliability trusted across music, film, and content creation. Designed for musicians, producers, and engineers who demand every nuance, the V Series Five empowers creators to craft chart-topping mixes, score to picture, or elevate personal projects with confidence. Available Summer 2026, atwww.krkmusic.com.
GIBSON.COM | X | IG | FB | TT | GIBSON APP | GIBSON GARAGE NASHVILLE | GIBSON GARAGE LONDON | GIBSON RECORDS | GIBSON GIVES | GIBSON CERTIFIED VINTAGE | GIBSON LIFESTYLE |
GIBSON TV EN ESPANOL | GIBSON TV
Epiphone:
EPIPHONE.COM | X | IG | FB | YT
Kramer:
KRAMERGUITARS.COM | X | IG | FB | YT
MESA/Boogie:
MESABOOGIE.COM | X | IG | FB
Guild unveils two new “accessible” 12-string acoustics, the F-412 and F-412E Standard
Guild has introduced a pair of new 12-string acoustics, the F-412 and F-412E Standard.
Both available in Natural and Pacific Sunset Burst, these guitars are branded as instruments for the “working guitarist”, and both sport a solid an array of quality tonewoods, with African mahogany backs and sides, solid Sitka spruce tops, as well as comfortable C-shaped mahogany necks with Indian rosewood fingerboards.
Finishing touches include tortoiseshell pickguards, white body binding, and cream Deluxe Vintage open-gear tuners.
The F-412E Standard is an electro-acoustic version, with an L.R. Baggs Element VTC active pickup system, offering Volume and Tone controls for tone shaping.
Credit: Guild
Built in America, Nick Beach, Guild’s Product Manager of Fretted Instruments notes of the new guitars: “The new F-412 Standard guitars are the first American-made mahogany body 12-strings that Guild has offered in many years. These professional-quality guitars are also more accessible than our top-of-the-line 12-strings, putting them well within reach of working guitarists.”
Credit: Guild
In terms of pricing, the F-412E Standard Natural sits at $2,999.99, while the F-412E Pacific Sunset Burst costs $3,099.99. If you’re strictly sticking to the acoustic side with no electronics, the F-412 Standard Natural is $2,799.99, with the F-412 Pacific Sunset priced at a slightly higher $2,899.99.
All F-412 and F-412E Standard guitars also come with a Guild Deluxe humidified hardshell case, as well as an accompanying Certificate of Authenticity.
To find out more, head to Guild.
The post Guild unveils two new “accessible” 12-string acoustics, the F-412 and F-412E Standard appeared first on Guitar.com | All Things Guitar.
“A more compact form without compromise”: Neural DSP downsizes its flagship Quad Cortex with the smaller but equally powerful Quad Cortex Mini
In what’s sure to be one of the biggest launches of the 2026 NAMM Show, Neural DSP has unveiled the Quad Cortex Mini, offering the full sound and processing power of its flagship Quad Cortex amp modeller in a significantly smaller footprint.
Measuring just 22.8 x 11.8 x 6.5 cm, weighing just 1.5 kg and 50% smaller, the Quad Cortex Mini is designed for easier-than-ever integration into pedalboards, compact racks and desktop studios, without sacrificing the immense power of the larger flagship version. You may or may not remember we blessed the original Quad Cortex with a 10/10 rating in our 2021 review, asking whether it would become the most “game-changing guitar product of the decade”. But will the Quad Cortex Mini make the same splash in the amp modeller market?
The Quad Cortex Mini interface is centred around a 7” touchscreen display and four stainless steel rotary footswitches, offering “precise, tactile control underfoot and at the fingertips in both live and studio environments”.
Features include Neural Capture V1 and V2 support for capturing amps, cabs, drives, fuzzes and compressors, a comprehensive library of 90+ amps, 100+ effects, 1,000+ IRs and 2,000+ Captures, and free access to thousands of community Captures via Cortex Cloud.
There’s also the Focus system for fast, hands-on parameter control with the rotary footswitches, a Pages system for extended footswitch control without increasing hardware footprint, and a Gig View for “performance-focused” stage control.
Credit: Neural DSP
And while we’re on the topic of performance, the Quad Cortex Mini introduces a locking power connector for secure live operation. There’s also comprehensive I/O, with an instrument/mic combo input with phantom power, balanced XLR outputs, stereo send/return via TRS, MIDI over TRS and USB-C, and even a headphone output for quiet practice.
The new unit also sits neatly in the Quad Cortex ecosystem, with users able to move presets and system backups between a Quad Cortex and Quad Cortex Mini, if they wish.
“Since the introduction of Quad Cortex in 2020, our goal has been to define the standard for what an all-in-one digital rig can be,” says Douglas Castro, CEO and Co-Founder of Neural DSP.
“We set out to combine machine-learning-based modelling, studio-grade audio quality, and a fast, performance-focused workflow in a single unit. With Quad Cortex Mini, we’ve carried that same philosophy forward, preserving the processing architecture and Neural Capture technology that allow us to create ultra-accurate digital replicas of amplifiers, cabinets, drive pedals, fuzzes, and compressors, now in a more compact form without compromise.”
Credit: Neural DSP
In addition to the launch of the Quad Cortex Mini, Neural DSP has unveiled CorOS 4.0.0, bringing new utilities to the platform including a series of reverbs, plus Phase Doctor, which aligns signals in stereo rigs and multi-amp setups.
“Quad Cortex Mini represents our belief that size shouldn’t dictate what a professional rig is capable of,” concludes Francisco Cresp, Neural DSP Co-Founder and CPO.
“It carries forward the same sound quality, the same processing depth, and the same creative control that define Quad Cortex, while opening up new possibilities for how and where that level of performance can be used. The goal was to ensure that whether a player is in the studio, on stage, or on the road, they can rely on the same technology, the same results, and the same level of trust in their rig, regardless of form factor.”
The Quad Cortex Mini is available now, priced at €1,299. To learn more, head to Neural DSP, and if, like us, you’re lucky enough to be at the 2026 NAMM Show, you can pay Neural DSP a visit at Booth #5243.
The post “A more compact form without compromise”: Neural DSP downsizes its flagship Quad Cortex with the smaller but equally powerful Quad Cortex Mini appeared first on Guitar.com | All Things Guitar.
Rig Rundown: Bryan Adams
The veteran Canadian rocker and his wingman Keith Scott count on hybrid rigs and golden Gibsons for their recent tour.
Last year, Bryan Adams launched the Roll With the Punches Tour, a 40-show run across North America which marked his most significant outing in years. The production touched down at Nashville’s Bridgestone Arena in early November. That’s where Adams’ tech Craig Pattison gave PG’s John Bohlinger a backstage tour of the gear used by Adams, and guitarist Keith Scott and his tech Dan Ely detailed what’s used on the other side of the stage. Peep the highlights below, and tune into our new Rig Rundown for more!
[Brought to you by D’Addario.]
Summer of ’53
Adams has a few of these vintage Gibson ES-295s, loaded with P-90s, and treasures their expressiveness so highly that they’ve displaced the Stratocasters he used for much of his career. The original Kluson tuners were swapped out for Waverly machines. Another 295 stays on standby.
Adams’ guitars take custom La Bella strings (.012–.014–.017–.030–.040–.050). Second guitarist Keith Scott uses the same range, except with a .018 G string.
Adams’ Acoustic
Adams’ 1954 Martin D-18 uses a Fishman Natural 1 pickup—a model that Pattinson stocked up on to ensure they never have to go without. The guitar takes a set of La Bella 7GPS Phosphor Bronze strings (.012–.052).
Bryan Adams’ Pedalboard
This simple board helps Adams navigate effects on guitar, but it also carries his bass rig when he switches to the 4-string. In addition to the Fractal FC-6 and TC Electronic Polytune, there’s an Ampeg SGT-DI, Radial SGI-TX, Universal Audio Max Preamp and Dual Compressor, and an Axess Electronics IsoFormer RCV. A Truetone CS-7 1 Spot Pro keeps the lights on.
Bryan Adams’ Rack Setup
Adams’ chain runs into a massive Pete Cornish Custom Design control unit, which is the heart and soul of his sound. Among its many functions, it features an integrated tuner, distortion, and Mu-Tron effect unit. A Fractal Axe-Fx III with models of a Vox AC30 and a Marshall JTM45 has replaced his amplifiers, and the Fractal FC-6 controller on his pedalboard handles Adams’ switching.
Bryan Adams’ Rack Setup
Adams’ chain runs into a massive Pete Cornish Custom Design control unit, which is the heart and soul of his sound. Among its many functions, it features an integrated tuner, distortion, and Mu-Tron effect unit. A Fractal Axe-Fx III with models of a Vox AC30 and a Marshall JTM45 has replaced his amplifiers, and the Fractal FC-6 controller on his pedalboard handles Adams’ switching.
Rock ’n’ Roll Relic
Scott’s main weapon is this 1963 Fender Stratocaster. As you might guess, it came by its worn look very honestly.
A Gift to Remember
This 1954 Gibson Les Paul was gifted to Scott by Adams for Christmas in 1989. Over the years, it’s been refretted, and fitted with upgraded bridge, machine heads, and nut.
Paint it Black-Panel
In addition to a backstage rack setup, Scott runs a pair of black-panel Fender Bassman heads through matching cabinets.
Keith Scott’s Rack and Effects
Scott, too, runs a Fractal Axe-Fx III system, housed in a rack alongside a Dunlop DCR-2SR Custom Shop Wah rack unit and a TC Electronic D-Two delay. His main tone comes from a cranked Ibanez Tube Screamer, and other pedals include a Boss TR-2, Stone Deaf Noise Reaper, Darkglass Hyper Luminal, Boss CS-3, KingTone The Octaland, Ibanez AF-9, Lovetone Brown Source, Hughes & Kettner Tube Rotosphere, Subdecay Prometheus DLX, Strymon El Capistan, TC Electronic TC2290, and Boss CH-1.
An RJM Effect Gizmo and Mastermind GT help Scott navigate some switching, but tech Ely handles 80 percent of the work.
Keith Scott’s Rack and Effects
Scott, too, runs a Fractal Axe-Fx III system, housed in a rack alongside a Dunlop DCR-2SR Custom Shop Wah rack unit and a TC Electronic D-Two delay. His main tone comes from a cranked Ibanez Tube Screamer, and other pedals include a Boss TR-2, Stone Deaf Noise Reaper, Darkglass Hyper Luminal, Boss CS-3, KingTone The Octaland, Ibanez AF-9, Lovetone Brown Source, Hughes & Kettner Tube Rotosphere, Subdecay Prometheus DLX, Strymon El Capistan, TC Electronic TC2290, and Boss CH-1.
An RJM Effect Gizmo and Mastermind GT help Scott navigate some switching, but tech Ely handles 80 percent of the work.
Keith Scott’s Rack and Effects
Scott, too, runs a Fractal Axe-Fx III system, housed in a rack alongside a Dunlop DCR-2SR Custom Shop Wah rack unit and a TC Electronic D-Two delay. His main tone comes from a cranked Ibanez Tube Screamer, and other pedals include a Boss TR-2, Stone Deaf Noise Reaper, Darkglass Hyper Luminal, Boss CS-3, KingTone The Octaland, Ibanez AF-9, Lovetone Brown Source, Hughes & Kettner Tube Rotosphere, Subdecay Prometheus DLX, Strymon El Capistan, TC Electronic TC2290, and Boss CH-1.
An RJM Effect Gizmo and Mastermind GT help Scott navigate some switching, but tech Ely handles 80 percent of the work.
Keith Scott’s Rack and Effects
Scott, too, runs a Fractal Axe-Fx III system, housed in a rack alongside a Dunlop DCR-2SR Custom Shop Wah rack unit and a TC Electronic D-Two delay. His main tone comes from a cranked Ibanez Tube Screamer, and other pedals include a Boss TR-2, Stone Deaf Noise Reaper, Darkglass Hyper Luminal, Boss CS-3, KingTone The Octaland, Ibanez AF-9, Lovetone Brown Source, Hughes & Kettner Tube Rotosphere, Subdecay Prometheus DLX, Strymon El Capistan, TC Electronic TC2290, and Boss CH-1.
An RJM Effect Gizmo and Mastermind GT help Scott navigate some switching, but tech Ely handles 80 percent of the work.
Pro Pedalboards 2026!
From windmill-powered legends to digital revolutionaries—explore the pedalboards, rack systems, and signal chains that defined 2025, featuring Queens of the Stone Age, the Who, Linkin Park, Keith Urban, My Chemical Romance, and more.
The Who
Pete Townshend’s Pedalboard
The legendary windmiller’s guitars run into a Pete Cornish AC Powered 3 Way Split box, then onto a very custom Cornish-built pedalboard. Inside are just three circuits, pulled from their enclosures and wired up by Cornish: a T-Rex Effects Replica, a Boss OD-1, and a Demeter Compulator. Tech Simon Law’s predecessor, lifelong Townshend tech Alan Rogan, had Cornish build two of these; the backup stays on hand in case of emergency. The board is also outfitted with a top-notch power supply and buffer circuit, plus the nifty “Dr. Who-style” footswitch buttons.
Jon Button’s Pedalboard
Button runs three signals to front of house: one from his Noble Preamp, and two from his Neural Quad Cortex. One of the Neural’s signals runs a stock Ampeg SVT model, and the other is an emulation of Pete Thorn’s Suhr SL68, plus four preset drive levels that Button can switch between as desired. Front of house blends the signals as they see fit.
Amyl and the Sniffers
Declan Mehrtens’ Pedalboard
The jewel of Mehrtens’ board is his SoloDallas Schaffer Replica, famous for its recreation of Angus Young’s guitar tone. In addition, he runs a TC Electronic PolyTune 3 Noir, Electro-Harmonix Soul Food modded with LED diodes, MXR Micro Flanger, two MXR Carbon Copy Minis, and a Vox wah pedal. A switcher with six loops, built by Dave Friedman, manages the changes.
Gus Romer’s Pedalboard
Romer’s board, furnished with the help of Mehrtens, gets right to the point: It features a TC Electronic PolyTune 3, a Boss ODB-3, and an MXR Distortion+.
Queens of the Stone Age
Troy Van Leeuwen’s Pedalboard
All of Van Leeuwen’s pedals go through loops, with a RJM Mastermind PBC/6X and Mastermind GT/16 handling the switching, and most processing done through a Fractal FM3 and a pair of Eventide H9s. Van Leeuwen designed the boards, and his tech Cody helped build and program it.
Across the two boards, there’s a pair of Electro-Harmonix Superegos and Way Huge Saffron Squeezes, plus Dunlop expression and volume pedals; EarthQuaker Devices Tentacle, Rainbow Machine, and Fuzz Master General; Way Huge Effect Pedal, Green Rhino, and Atreides; Echopark Echodriver; Ten Years Is A Decade; modified EHX Holiest Grail; and Dr. No Effects TVL Raven.
Dweezil Zappa
Dweezil Zappa’s Pedalboard and Rack
Zappa keeps a significant board at his feet, which he operates with a Fractal FC-12 controller. He runs his sound in stereo, with different effects going to each side, so he keeps volume pedals for each in front of him, plus a wah and expression pedal.
The row of pedals perched atop the board includes a TC Electronic Polytune 3 Noir, a Marshall-style prototype pedal, J. Rockett Audio Designs PXO, Union Tube and Transistor Lab, SoloDallas Orbiter, a Jext Telez White Pedal (to nab a specific tone for playing “Nanook Rubs It”), and a 29 Pedals FLWR.
In our 2013 Rig Rundown, Dweezil was using a Fractal Axe-Fx II, and this time around, he’s upgraded to the Axe-Fx III as the basis of his sound. Given the sonic territory covered in his shows, it simply became too unwieldy and expensive to tour an analog rig.
The brains of his show are held in a rack system. A couple of out-of-sight splitter boxes help with the complex stereo signal paths, as do a pair of Voodoo Lab HEX audio switchers. The Axe-Fx III lives on the top shelf, and just below it are an Eventide H90 and TC Electronic TC 2290 that go to both sides.
The next rack down runs only to the left side, and includes a BK Butler Tube Driver, DigiTech FreqOut, Red Panda Radius and Raster, Krozz Devices Airborn Analog Flanger, and a Paul Trombetta Design Tornita! fuzz.
The level below it runs to the right side, with a “Clown Vomit” fuzz, Chase Bliss Warped Vinyl, Korg FLG-1 Flanger, Chase Bliss Generation Loss, Goochfx Holy Cow, and another Red Panda Raster.
Linkin Park
Mike Shinoda, Brad Delson, and Alex Feder’s Rack Systems
Brad Delson’s rig (used by touring member Alex Feder) lives on the left side of this rack, while Mike Shinoda’s takes up the right. They both feature a Radial KL-8, two Radial JX44s, two Shure AD4Qs, and two Fractal Axe-Fx III units. Shinoda’s setup also includes two Electro-Harmonix HOG2 pedals. The Fractals employ IRs that were captured by old FOH engineer Pooch, using a Randall cabinet.
MIDI handles all of the changes for the show, though there’s a Fractal FC-12 foot controller on hand for manual switching in case of emergency. Fred Carlton of Nerdmatics, who built the Linkin Park rig for the 2024-2025 run promoting From Zero, shared some information with us: “The backline gear consists of about 11 computers running Ableton, all receiving locator information from the main playback computers. We maintain redundant computer systems for Joe Hahn’s DJ rig, Mike Shinoda’s keyboard rig, the Audio FX rig, and the Playback system. Single-computer setups are used for both guitar rigs and the bass rig, as these stations only send MIDI patch changes and do not handle audio. Additional single-computer systems are in place at Monitor World, FOH, and within the Visual department.
Each station carries an updated timeline of the show, allowing techs to insert automation data such as MIDI or timecode to control their systems. Once changes are made to the main Ableton session, we distribute updated .ALS files to all departments, enabling them to integrate their specific data into the new timeline. This workflow allows us to implement changes quickly while keeping all departments aligned. Having separate computers also gives each tech the ability to test their own system independently. In the event of losing RTP network connectivity, they can punt the show locally without relying on external automation.”
The Jesus Lizard
Duane Denison’s Pedalboard
Denison sets up this Line 6 Helix as a pedalboard, with tweaked versions of his favorite analog delay pedals programmed in. Among his go-to effects are reverb, slapback delay, tremolo, chorus, wah, longer delay, and what he calls a “wildcare effect,” which comes into play for “What If?”
Dave Wm. Sims’ Pedalboard
No fancy floor unit for Sims. He’s got a Boss ODB-3, an MXR Bass Chorus Deluxe, and an MXR Phase 90, all of which are used sparingly throughout the set.
Keith Urban
Keith Urban’s Pedalboard
Delays and modulation are all added to Urban’s tones after three mics capture the sound of his Marshall cab. Those signals hit this Fractal Axe-Fx II XL+, which tech Chris Miller controls offstage. A Mission Engineering expression is the only pedal Urban utilizes, which controls a model of a Cry Baby in the Fractal.
Katy Perry's Devon Eisenbarger
Devon Eisenbarger’s Rack Setup
Eisenbarger runs an all-digital rig, contained in this rack backstage. The key pieces are a Radial JX42, two Shure AD4Ds, a Kemper Profiling Amplifier, and a Fractal Axe-Fx. The Kemper runs a SELAH SOUNDS pack of profiles and impulse responses.
With no onstage monitors, Eisenbarger’s signal runs only to in-ear monitors and front of house.
Billy Idols' Steve Stevens
Steve Stevens’ Pedalboard
Stevens’ pedal playground is managed by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but tech Frank Falbo is ready to flip switches backstage in case Stevens is away from his board at a key moment.
The center hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.
Deep Sea Diver
Jessica Dobson’s Pedalboard
Dobson runs a busy board powered by a Voodoo Labs Pedal Power 2 Plus and operated via a Boss ES-8. There’s also her signature Benson Deep Sea Diver, plus a Benson Germanium Preamp, JHS Pulp N Peel, Sarno Music Solutions Earth Drive, Benson Germanium Boost, EHX Deluxe Memory Man, Strymon blueSky, EHX POG2, Chase Bliss Brothers Analog Gainstage, and Menatone Pleasure Trem 5000, plus a TC Electronic PolyTune 2 Noir.
MJ Lenderman
MJ Lenderman’s Pedalboard
Lenderman’s clean, easy board has a D’Addario tuner, Death By Audio Interstellar Overdriver Deluxe, a Dunlop wah that he uses as a subtle filter, and a TC Electronic Flashback 2.
Jon Samuels’ Pedalboard
Samuels’ board, a hybrid of his own pedals and some borrowed units, carries a Hardwire HT-6 polyphonic tuner, Death By Audio Fuzz War, JHS Double Barrel, Dunlop wah, J. Rockett Archer Clean Boost, Joyo Tremolo, EHX Nano Small Stone, and TC Electronic Flashback 2.
Landon George's Pedalboard
George packs a Korg Pitchblack tuner, Origin Effects Cali76 Compact Bass, Boss DD-7, Darkglass Electronics Alpha Omega, and a Noble Amplifier Company utility box—it’s a tube preamp, DI box, and power supply, all in one.
Orianthi
Orianthi’s Pedalboard
Orianthi’s playing does most of the heavy lifting, but this humble board contributes some muscle. There’s a Dunlop Cry Baby EVH wah, Dunlop Authentic Hendrix ’68 Shrine Series Octavio, Dunlop Authentic Hendrix ’68 Shrine Series Uni-Vibe, MXR Analog Chorus, Boss BF-2, Boss DD-3, and a Boss TU-3.
My Chemical Romance
Frank Iero’s Rack
Iero’s backstage rig includes three main racks of effects, all powered by Strymon Zumas.
The first carries a Mesa Boogie 5-Band Graphic EQ, Amaze by Analogman Prince of Tone, Bowman Audio Endeavors Bowman Overdrive, JHS Hard Drive, and Hayashi Craft Trick Gain.
Drawer two is about modulation, and includes a Boss TR-2, MXR Phase 100, Boss DM-2W, EarthQuaker Devices Ghost Echo, EHX Micro POG, and EHX Holy Grail.
The last drawer bears a Jackson Audio Twin Twelve, EHX Deluxe Memory Man, Ibanez Tube Screamer Overdrive Pro, and Bowman Audio Bellyacher.
Ray Toro’s Rack
A Shure Axient wireless system sends Toro’s guitar’s signal to this system backstage, where it hits a Radial JX44 and a pair of RJM Effect Gizmos.
One drawer holds an MXR Duke of Tone, MXR Custom Badass ’78 Distortion, Boss GE-7, Boss CH-1, Kernom Moho, Kernom Ridge, and Wampler Gearbox.
In the next are two Boss GE-7s, two Bowman Overdrives, a Death by Audio Fuzz War, a Source Audio EQ2, a Bowman Bellyacher, and a Keeley Compressor Mini.
The third shelf is home to an EHX POG2, 1981 Inventions DRV, Chase Bliss Preamp MK II, Boss TR-2, MXR Carbon Copy, Keeley Loomer, and MXR EVH Phase 90.
A fourth level hosts a Strymon TimeLine, Strymon BigSky, and Source Audio EQ2.
Onstage at his feet, Toro’s pedalboard boasts a TC Electronic PolyTune, a custom RJM Mastermind PBC/6X, Ibanez TS808, Bowman Audio Bowman Overdrive, EHX Micro POG, Boss TR-2, MXR Carbon Copy, and Strymon BigSky. Strymon Zumas keep everything chugging along.
Mikey Way’s Pedals
Way keeps things simple. Along with an Origin Effects DCX Bass and Cali76 set to push his Super Bassman, his setup includes a pair of Aguilar Agros, an MXR Sub Octave Bass Fuzz, and a Malekko B:assmaster.
My Morning Jacket
Jim James’ Pedalboard
James’ board is built around a pair of GigRig QuarterMaster switching systems, which lets him navigate the stomps seen here: a Devi Ever US Fuzz, Boss BD-2w, SoloDallas Schaffer Boost, Boss OC-2, EarthQuaker Devices Spatial Delivery, Strymon blueSky, EQD Ghost Echo, Malekko Spring Chicken, ISP Deci-Mate, Electro-Harmonix Mel9, UA Starlight Echo Station, and UA Astra Modulation Machine. A D’Addario Chromatic Pedal Tuner duo keep things on pitch, a Strymon Zuma and Ojai pair handle the power, and a Radial SGI-44 line driver maintains clarity.
Carl Broemel’s Pedalboard
Broemel commissioned XAct Tone Solutions to build this double-decker board, which depends on a GigRig G3S switching system. From top to bottom (literally), it includes a Boss TU-3, Durham Electronics Sex Drive, JAM Pedals Tubedreamer, Source Audio Spectrum, JAM Retrovibe, MXR Phase 100, Fender The Pelt, Origin Effects SlideRIG, 29 Pedals EUNA, two Eventide H9s, Kingsley Harlot V3, JAM Delay Llama, Merix LVX, Hologram Chroma Console, and EHX POGIII. A wah and Mission Engineering expression pedal sit on the left side, while a Lehle volume pedal and Gamechanger Audio Plus hold down the right edge.
Utility units include two SGI TX interfaces, two Strymon Ojais and a Strymon Zuma, and a Cioks Crux.
Tom Blankenship’s Pedalboard
Like James, Blankenship uses a GigRig QuarterMaster to jump between his effects. After his Boss TU-3, that includes an Origin Effects Cali76, DigiTech Whammy Ricochet, Pepers’ Pedals Humongous Fuzz, MXR Bass Octave Deluxe, Tronographic Rusty Box, and EHX Bassballs Nano. A Voodoo Labs Pedal Power 2 Plus lights things up, and a Radial SGI TX keeps the signal squeaky clean.
Great Acoustics—The Collings Custom ‘Austin City Limits’ C10
PRS taps Ed Sheeran for limited-edition “Cosmic Splash” signature model – featuring the superstar’s own artwork on its body
PRS has partnered with Ed Sheeran on a new “Cosmic Splash” Limited Edition signature model, adorned with eye-catching artwork by the singer-songwriter superstar himself.
Featuring the exact design from one of Sheeran’s 2025 Cosmic Carpark paintings – a series of artworks he sold last year to raise money for the Ed Sheeran Foundation – the new “Cosmic Splash” model is a limited SE Hollowbody I Piezo Baritone model, with only 1,000 available worldwide.
In terms of specs, the guitar features a PRS/LR Baggs Piezo system, along with 85/15 “S” pickups, as well as a hollow body with a maple top with a ‘Shallow Violin’ carve and flat mahogany back, and a glued-in Wide Fat mahogany neck, 10”-radius rosewood fingerboard and 27.7” baritone scale length. Elsewhere, the guitar sports an adjustable PRS stop-tail bridge and PRS tuners.
Credit: PRS
But visuals are obviously the key draw of this guitar. In addition to the striking “Cosmic Splash” artwork design, the instrument sports fretboard inlays which are a nod to Sheeran’s Stereo series of albums – Play, Pause, Rewind, Fast-Forward and Stop – the first of which landed last year (2025). The guitar also dons a Play icon on its truss rod cover.
“I started painting as a way to stay creative when I am off the road,” says Sheeran. “I often say ‘keep the faucet running’ when it comes to songwriting – it’s so important to stay in a creative headspace to get to the really good stuff. My hope is that people find this instrument as inspiring as I do. To have my artwork on it as well is such a treat.”
Credit: PRS
While this isn’t the first collaboration between Ed Sheeran and PRS – they worked together last year on a one-off SE Hollowbody Baritone for the music video for Drive, from the F1: The Movie soundtrack – it is the first PRS x Ed Sheeran model to be available for purchase by the public.
The Limited Edition Ed Sheeran “Cosmic Splash” model is available now, priced at £1,599/$1,599. Each guitar also comes with an 8” x 8” print of the same Cosmic Carpark painting on the guitar’s body, also hand-signed by Ed Sheeran.
Learn more at PRS.
The post PRS taps Ed Sheeran for limited-edition “Cosmic Splash” signature model – featuring the superstar’s own artwork on its body appeared first on Guitar.com | All Things Guitar.
“A bold evolution of Valvetronix”: VOX pairs new amp modelling technology with the “authentic feel of classic tubes” in the new VT20X and VT40X
VOX is marking the 25th anniversary of its Valvetronix series with the launch of two new hybrid guitar amplifiers: the VT20X and VT40X.
Described as a “bold evolution of the Valvetronix concept”, the new models are aimed at players who want the “authentic feel of classic tube amps” and the flexibility of modern digital modelling.
- READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet
At the core of both amps is a redesigned hybrid architecture that pairs new modelling technology with a multi-stage tube preamp circuit. According to VOX, its new modelling algorithm goes beyond static tonal snapshots, instead recreating the analogue circuitry of some of the world’s most coveted tube amps at a “circuit level”.
This deep level of modelling allows players to adjust gain structure, switch between Class A and Class AB operation, and fine-tune amplifier bias in real time – resulting in more nuanced tonal shifts and a more realistic response under the fingers.
A 12AX7 tube is integrated further into the signal path than in previous Valvetronix generations, contributing warmth, natural compression, and that elusive “edge of breakup” sensitivity that responds directly to player touch and guitar volume. VOX says the result is smoother clean-to-crunch transitions and overdrive tones with the sag, bloom, and bite typically associated with vintage tube amplifiers.
Beyond amp modelling, the VT20X and VT40X include a selection of built-in effects inspired by classic stompboxes, allowing players to build complete rigs without relying on external pedals. Both amps are housed in sealed cabinets featuring VOX’s bass-reflex design, intended to deliver fuller low-end response and better projection despite their compact size.
As you’d expect, the amps are well equipped for modern use. Both feature USB connectivity, a built-in tuner, AUX input, and a headphone output for silent practice. The VT20X delivers 20 watts through an 8-inch speaker, while the VT40X ups the power to 40 watts and a 10-inch speaker for additional headroom. Both are finished in the series’ Classic Blue livery, complete with a split-front design and blue grille cloth as a nod to VOX heritage.
“With deeper tube integration, refined circuit-based modeling, expressive tonal flexibility, and practical player-focused features, the new VT20X and VT40X reimagine the hybrid amp experience for a new generation while staying true to the musical feel that made Valvetronix a favorite among guitarists worldwide,” says Vox.
The VT20X and VT40X are available now, priced at $279.79 and $399.99 respectively.
Learn more at VOX amps.
The post “A bold evolution of Valvetronix”: VOX pairs new amp modelling technology with the “authentic feel of classic tubes” in the new VT20X and VT40X appeared first on Guitar.com | All Things Guitar.
Unprocessed’s Manuel Gardner Fernandes names the viral shredders you need to watch in 2026
“People always like to compare,” Manuel Gardner Fernandes says with an exasperated tone. “I can’t help but wonder if people will think that this record is better than the last one.”
The frontman of German tech-metal favourites Unprocessed insists that isn’t why the band’s new album is presented in a polar-opposite way to the previous one, but it’s clearly something that’s on his mind. The new album is called Angel and comes packaged with a lush blue cover. Put that side-by-side with the last one, …And Everything in Between, and it’s pretty stark. It had a fiery red cover. There was also a song on it called Hell. That’s pretty night-and-day, lads.
That sense of difference extends to the music. …And Everything in Between was hyper-aggressive and riff-based, whereas Fernandes says the new stuff is “song-based”. But, beyond that, Unprocessed are still Unprocessed. They’re still the same mind-bogglingly talented firebrands who’ve racked up millions of social media hits, almost definitely made you feel insecure about your guitar playing at least once, and long since figured their way around a snacky chorus.
“This album isn’t something that turned out super different [to the previous one],” says Fernandes over video call. “…And Everything in Between was, like, very evil. Just, evil packed into nine short songs. This one, it’s a little bit more of a journey. It has a lot of variety and there are more breaks.”
Image: Press
Angel is a smooth-as-silk convergence of tech-metal, prog and R&B. Opener 111 may kick off with a thudding riff and a cathartic scream from Fernandes, but it soon expands into a sensitive, silken chorus, laced with synth. On Beyond’s Heaven Gate, the band kick off with a Polyphia-like prog jam. ‘Far away, far away – we leave only angel dust,’ their singer/guitarist gently croons during the chorus. ‘Far away, far away – we can try, heal your wounds.’ That sense of Unprocessed exploring diversity even extends to the guest stars: Marc “Zelli” Zellweger of deathcore up-and-comers Paleface Swiss snarls his lungs out for Solara, whereas Jason Aalon Butler of Letlive and Fever 333 brings a confrontational rap to Head in the Clouds.
“I still haven’t met Jason personally,” Fernandes admits. “We just know each other online. He actually wanted to do something for …And Everything in Between, but, because of time, he couldn’t do it. I uploaded a clip to Instagram: this heavy, emotional, eight-string riff. He was like, ‘Wow, this is super sick! Let’s do something with it.’ He shared my vision for the whole song.”
In an interview earlier this year, Unprocessed’s drummer, Leon Pfeifer, called Angel a natural “next step” after …And Everything in Between. However, Fernandes disagrees.
Unprocessed and Zelli. Image: Press
“…And Everything in Between had this more shocking factor,” he explains. “We introduced a very thrash metal thing with a song like Thrash, and it had this very viral moment. I was not trying to do something completely different or mind-blowing on this record. My focus on this record was just having nice songs.”
The frontman reveals that that ferocity was inspired by anger over a record label deal gone sour. …And Everything in Between was Unprocessed’s first self-released effort, its 2022 predecessor Gold having come out via Spinefarm.
“Gold took us three years to release,” he explains, “but not because we weren’t ready. And as we got rid of our connection with the label, I just immediately hit my studio and was writing. It turned out to be super heavy.”
Outside of Unprocessed, Fernandes is a social media superstar. In 2019 and 2020, the player gained widespread attention through Instagram, with footage of him playing his instrument at seemingly inhuman speeds going viral. However, it seemed that for every floored fan Fernandes picked up using social media, there was another person insisting that he was faking his chops (he wasn’t). Even though they had no evidence to support their claims apart from the camera-phone footage being a bit fuzzy, they made their protestations very, very public.
Manuel Gardner Fernandes (right) and Zelli (left). Image: Press
“I had a journey with social media,” Fernandes reflects, “and it was kind of compressed into one year of ups and downs. I was just uploading my clips and they were skyrocketing all over social media. But, after that, immediately, I was caught in the middle of a shit storm. After that whole controversy, I was like, ‘Do I even want to be that bedroom guitarist, that social media guitarist? Or, do I want to step back and get my band to where I was as an individual guitar player?’”
In 2023, Fernandes admitted to Guitar that he was scared of being “cancelled” due to all the controversy. As a result, even though he has 311,000 Instagram followers right now, he barely posts videos of himself playing guitar at home anymore. Combine that with the fact that Unprocessed spent plenty of time on the road between …And Everything in Between and Angel, playing shows with the likes of Tesseract and the Callous Daoboys, and it’s clear which route he ended up taking. It makes sense when he explains that he always wanted to be a player in a band anyway.
Fernandes first picked up a guitar when he was three years old. His granddad had been a touring guitarist and, at the time, his dad was a bassist in a thrash band. “He introduced me to Metallica and Iron Maiden,” he remembers. “I’ve been a metal fan since I was born, basically.”
When he was a teenager, he also fell in love with dark electronic music, and he lists Massive Attack and Depeche Mode among his favourite bands of all time. That combo of influences – lightspeed, intricate metal alongside dark, synthy atmospherics – is extremely tangible throughout Angel, with the song Your Dress casting throbbing bass against industrial beats. He started playing in bands at school, and he formed Unprocessed aged 16 with co-guitarist Christoph Schultz, after they both auditioned for a spot in a cover band.
In 2025, that childhood project has flourished into an independent business, putting out albums and touring all over the world. However, Fernandes still finds the same joy in creation and production that has always been there. He also clearly relishes the kind of collaboration that only a band can give, as opposed to being a social media player out there by himself.
“My favourite thing to do still is sitting in my studio and producing music,” he says. “That joy hasn’t changed since the beginning of Unprocessed. The feeling of me bouncing a version of a song to the boys, or showing it to friends and family, that really gives me joy.”
Fernandes may not be hugely active on social media anymore, but he’s still plugged in to what’s going on there, especially what new guitarists are blowing up. So, when we asked him to name the viral players blowing his mind right now, he quickly rattled off a list of names. These are the online virtuosos you should be watching in 2026:
Ando San
“I’ve never seen a guy rapping and thumping at the same time! It’s super sick.”
RJ Pasin
“He’s done incredible things with guitar production. The majority of guitarists probably wouldn’t call him a guitarist in the first place. You can argue he is or not, but this guy is doing something fresh in the music scene. His style is all about production. He’s more a producer than a guitarist, in a way. He’s still doing all these sounds with the guitar that make it special.”
Spiro Dussias
“I don’t know what he’s doing! I don’t know how he is doing that! I came across him on Instagram.”
Ichika Nito
“In the beginning, what made him stand out for me was his melodies. His compositions, I felt that they were almost soundtrack-ish, and I wanted to do that as well. I just love the classy DI sound with a lot of reverb on it.”
Tim Henson, Polyphia
“When Polyphia first came up, I can’t remember the name of the first video I saw, but there was more solo shredding [in their music] back then. Since then, I’ve always checked out what Polyphia are doing. Tim started following me on Instagram, and the first stuff that we did together was the In The Cut video that Tim uploaded to his channel. After that, we did our song Real together with him and [Polyphia bassist] Clay Gober. After that, we went on several world tours and did Die on the Cross of the Martyr, which is probably the biggest thing we’ve done together.”
Marcin
“In 2019, 2020, something like that, he wrote me a message saying, ‘Oh, my hands glitch too [referring to Fernandes’ “sped-up footage” controversy].’ [laughs] Since then, we started doing videos. The stuff that’s super fascinating about him is just his way of using his instruments as a percussive element, which I love. He sounds the same live as he does in his clips, and I love that, as well. He has millions of followers, but he’s also pulling a lot of people live, which is really nice to see. He transferred it the right way, to the live audience.”
The post Unprocessed’s Manuel Gardner Fernandes names the viral shredders you need to watch in 2026 appeared first on Guitar.com | All Things Guitar.
Wizard of Odd: An Ode to Hot Rods and Seymour Duncan
Many years ago, before I had inklings of writing about and researching guitars, I had an eye for the unique—weird, strange, and odd artistic flair that I seemed to find in random things. Vintage car parts held my attention for a while, and even though I had only rudimentary knowledge, I still enjoyed designs and how I could fit them together. Like early hot rods or motorcycle choppers, I saw an intoxicating beauty in what some folks would call “outsider” art.
Additionally, I grew up near Nazareth, Pennsylvania, home of Martin guitars and the Andretti family! Interestingly, there were a few racetracks (often called speedways) around, which were like oval dirt tracks where all sorts of cars raced around and turned the attendees into mudballs! At the time, my parents had an AMC Gremlin and, with tons of modifications, many of those cars were transformed into racers. It was like I drove around in a hot rod with no seat belts! Good times.
“What’s the big deal if this pickup was supposed to be in the bridge position, or that pickup was wired out-of-phase?”
Of course, as my attention turned towards electric guitars, I saw the opportunity for hot-rodding and modifying these instruments. Why? Because the guitars I found were often unplayable, and sometimes had dead pickups. I mean, what’s the big deal if this pickup was supposed to be in the bridge position, or that pickup was wired out-of-phase? These details meant nothing to my obsessive mind. I just wanted to create guitars and make noise.
Now, much earlier than my fiddlings, there was a fellow from South Jersey (also near me) that was already repairing pickups and experimenting with wire, winding, and construction techniques. This gentle soul, one of the nicest guys I’ve ever met, is the amazing Seymour Duncan! I don’t have to list all of his accomplishments and accolades. He’s a true living legend, and has had a massive impact on music, repair work, and guitar tone. But I would argue that Seymour is one of the earliest practitioners of hot-rodding guitars. Think about it: Back in the day, when a pickup failed, it was simply replaced with another factory part. But Seymour actually repaired pickups and noticed all sorts of differences. I’m sure it also helped that he’s an excellent player with a good ear for tone—whereas me, I didn’t have an ear at all.
So what can a kid do when there aren’t any repair spots nearby, and he hasn’t the ability to differentiate between good tones or bad ones? Well, you just go nuts like I did, and listen to hundreds of guitars and pickups! The good, bad, and ugly of 6-strings all passed through my hands, and eventually I developed a certain “type” of ear. Not Seymour-level, but maybe like, empty-beer-can level? I started to listen for pickups that had a presence and zing. I dug aggressive sounds, but I also enjoyed hearing a touch of echo. Eventually, I settled on pickups that were constantly on the verge of losing it, exploding without your palm grounding the electronics, constantly on the edge of feedback! For me, it was akin to driving a car with a manual transmission. I felt more in tune with a guitar if it was giving me input, dig?
Out of all the pickups I’ve heard, among my favorites are the earliest gold-foil ones made by Teisco. There are tons of gold-foil variants hailing from 1960s Japan, but the very first ones, produced between 1963 and 1965, are the best to my ears. It’s probably why older players would hot-rod guitars with these units. So for this month, I’m giving you a glimpse of one of my hot rods with my gold-foils. This guitar, dubbed the “Pumpkin,” is one of the easier builds you can do. Vintage and many reissue gold-foils were surface-mount, so you can easily adapt a tried-and-true template like a Fender Stratocaster. It’s like using the old Ford Model A, because you have a solid base, and don’t have to modify too much. Everything on mine here is mostly genuine Fender, except for the electronics.
Another easy way to mess around is with the guitar’s pot values, but then again, I’m getting a bit out of my pay grade. For those kinds of questions, you’d have to check with Seymour!
Roland adds three more treasured Boss pedals to its Effects Pedals plugin
Roland has added a further three pedals to its Boss Effects Pedals plugin – the software library available exclusively through the Roland Cloud.
Roland had slowly been releasing more digital versions of Boss’ range of treasured pedals over 2025, with eight arriving back in May last year. The library is now home to a total of 19 of the most well-loved Boss pedals, including the latest three additions – the DM-2, the OD-2, and the DC-2.
The Boss Effects Pedals plugin brings its compact pedal experience to the world of computer music production, delivering “premium processing” for guitar, bass, keyboards, vocals, and more. And this isn’t the end of it, as Roland has confirmed that this core library will continue to be populated with an ever-expanding selection of models derived from historic Boss hardware.
This trio of new additions brings longtime favourites to the range – the DM-2 was the first Boss analogue delay in the compact pedal lineup, and its retro BBD circuit produces delays that become more saturated with each repeat.
The OD-2 TURBO OverDrive is now onboard, offering two distinctly different overdrive sounds. Its standard mode produces a mild, well-defined overdrive, but switching on Turbo mode will crank things up by activating an independent drive circuit with higher gain and increased presence for heavy riffs and solos.
Completing the flurry of new arrivals is the DC-2 Dimension C pedal, which according to Roland itself, was born by adapting the rack-based Roland SDD-320 Dimension D into a condensed pedal for guitars and other mono instruments. It’s capable of adding depth and spaciousness like a chorus pedal, but its Dimension effect produces minimal modulation to create 3D character while preserving natural tone.
The Boss Effects Pedals plugin is available with a Roland Cloud Ultimate membership, which users can try for free with a 30-day all-access trial. Find out more via Roland.
The post Roland adds three more treasured Boss pedals to its Effects Pedals plugin appeared first on Guitar.com | All Things Guitar.
Guild Debuts American-Made F-412 Standard Jumbo12-String
Guild® Guitars today introduced the F-412 Standard Natural and F-412 Standard Pacific Sunset Burst jumbo-sized 12-string acoustic guitars. Meticulously crafted in the USA*, these premium instruments differ only in their finishes, and both are also available with L.R. Baggs® Element VTC pickup systems.
“The new F-412 Standard guitars are the first American-made mahogany body 12-strings that Guild has offered in many years,” said Nick Beach, Product Manager, Fretted Instruments. “These professional-quality guitars are also more accessible than our top-of-the-line 12-strings, putting them well within reach of working guitarists.”
F-412 Standard Natural and F-412 Standard Pacific Sunset Burst guitars boast solid African mahogany backs and sides that provide rich warmth, while their solid Sitka spruce tops add brightness—resulting in a lush, wide, symphonic sound with deep lows, vibrant mids, and characteristic Guild 12-string sparkle and shimmer.
The guitars also feature comfortable C-Shape mahogany necks topped with Indian rosewood fingerboards, tortoiseshell pickguards, white body binding, pearloid Guild Peak logo headstock inlays, and Deluxe Vintage open-gear tuners with cream oval buttons.
The F-412E Standard Natural and F-412E Standard Pacific Sunset Burst guitars include L.R. Baggs Element VTC active pickup systems with Volume and Tone controls that faithfully reproduce the guitars’ acoustic sound when amplified or recorded.
All F-412 Standard guitars come with a Guild Deluxe humidified hardshell case and a Certificate of Authenticity.
Pricing & Availability
F-412 Standard Natural $2,799.99 USD (MSRP)
F-412E Standard Natural $2,999.99 USD (MSRP)
F-412 Standard Pacific Sunset Burst $2,899.99 USD (MSRP)
F-412E Standard Pacific Sunset Burst $3,099.99 USD (MSRP)
Available now
Learn More
https://my.guildguitars.com/guild-usa/f-412-standard-natural
https://my.guildguitars.com/guild-usa/f-412-standard-natural/#naturalE
https://my.guildguitars.com/guild-usa/f-412-standard-pacific-sunset-burst
https://my.guildguitars.com/guild-usa/f-412-standard-pacific-sunset-burst/#pacificsunsetburstE
Who's No. 1? Let the Debate Begin!
PG's video crew discuss & debate what band has rocked the U.S. music scene the most in the last 75 years.
D’Addario Introduces the Micro-Fiber Polishing Mitt
D’Addario announces the Micro-Fiber Polishing Mitt: a reusable, chemical-free cleaning tool that keeps instruments looking and sounding their best. Made with ultrafine microscopic fibers, the mitt removes dust, dirt, oils, and smudges, offering a fast, safe alternative to traditional cloths and harsh polishes.
Designed for Precision Cleaning
The wearable mitt design fits right over the hand, giving players maximum control when cleaning tricky areas like under strings, around hardware and tuning pegs, or inside cutaways. It’s also ideal for gently wiping down strings to help extend lifespan and preserve tone. The Micro-Fiber Polishing Mitt is durable, machine washable, and designed to last.
Key Features
- Chemical-Free Cleaning: Removes dust, dirt, and oils without sprays or polishes.
- Wearable, Precision Design: Fits over the hand to reach tight spots with ease.
- Safe for All Instruments: Ideal for guitars, basses, keyboards, drums, and more.
- Supports String Longevity: Gently cleans strings to help maintain tone.
- Reusable & Washable: Built for long-term use; cleans easily with soap and water.
Availability & Price
The Micro-Fiber Polishing Mitt is available now through daddario.com and authorized retailers. Street price: $7.99.
For more information, visit: https://bit.ly/polishmitt-pr
Pages
