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NAMM 2026: what to expect from the biggest music trade show in the world
Rejoice, gearheads, for the 2026 NAMM Show is right around the corner. It’s a landmark event in the calendar for the music industry, where thousands of brands launch new products and showcase all the exciting new gear they’ve been working on.
The Guitar.com team will be packing our bags and trading grey, old England for sunny Anaheim to bring you all the biggest updates from the show as they happen, but until then, here’s a little bit of info about the NAMM Show to get you up to speed.
When and where will the NAMM Show 2026 take place?
As always, this year’s NAMM Show is being held at the Anaheim Convention Center in California, a 1.8 million-square foot venue that’s just about big enough to host the hundreds of music brands across guitars, tech and beyond showcasing their latest innovations.
This year’s show will span across five days from Tuesday, 20 – Saturday 24 January, with early access to events and exhibits for NAMM members on the 20th, and the main floor opening to all visitors from Thursday the 22nd.
Which brands will be at the NAMM Show 2026?
While NAMM saw reduced footfall and presence from big brands in the years immediately following the Covid pandemic, the show feels back to its former glory, with some of the biggest players in the guitar world having a presence in one way or another.
Fender has a booth in which it’ll showcase its new Fender Studio Pro DAW – which was announced recently as a replacement to PreSonus Studio One – Gibson will have a presence alongside Epiphone, Kramer and Mesa/Boogie, (though their stall is invite-only this year and aimed at dealers only rather than the general public), and there’ll be a sizeable PRS booth, too.
Interestingly, Neural DSP has secured itself a large booth for this year’s show, which suggests something big might be coming from the amp and tone modelling giant… Nothing but a hunch at this stage, but we’ll keep you updated if we hear more.
There’s also set to be a strong turnout from the biggest brands in acoustic guitar, with both Taylor and Martin hosting booths, as well as Faith, Ibanez – showcasing its latest electric and acoustic models, naturally – and loads more.
What are organisers saying about the NAMM Show 2026?
Organisers say the 2026 NAMM show will see a “global audience” gather with “a powerful mix of retailers, distributors, corporate buyers, artists, influencers and media, educators and a range of other qualified attendees that deliver value to the 4,000-plus brands on display”.
“Each and every year, The NAMM Show delivers the most relevant and game-changing programming to help build a strong future for our music industry,” says NAMM President and CEO John Mlynczak.
You can learn more about the NAMM Show 2026 at namm.org. The Guitar.com team will be on the ground in Anaheim next week bringing you all the latest action from the show floor, so stay tuned…
The post NAMM 2026: what to expect from the biggest music trade show in the world appeared first on Guitar.com | All Things Guitar.
VOX Introduces the VFZ-1 Fuzz Pedal
VOX announces the VFZ-1 Fuzz, a new compact effect pedal available now through retailers and online worldwide. Designed to deliver the unmistakable character of one of the most influential late-1960s two-transistor fuzz circuits, commonly associated with the celebrated Mk 1.5 design, the VFZ-1 answers today’s players’ need for expressive vintage tone while solving the noise, inconsistency, and temperature sensitivity that have long challenged traditional Germanium-based fuzz pedals. Through meticulous engineering and precise transistor biasing, VOX has created a modern Silicon-driven interpretation that preserves the warmth, harmonic richness, and musical responsiveness of classic fuzz, only now with exceptional reliability, stability, and ease of integration into contemporary pedalboards.
VOX engineers began by studying prized original examples, finding not only their tonal qualities but also the nuanced way their transistors interact. Instead of relying on Germanium, the VFZ-1 employs two carefully selected Silver Can BC108 Silicon transistors, each precisely biased to replicate the musical response of the originals while keeping consistent performance in any environment. This approach gives the VFZ-1 the smooth compression, organic breakup, and expressive sustain associated with overdriven vintage valve amplifiers, but with drastically reduced noise and a significantly wider sweet spot than vintage units traditionally allow.
A key breakthrough in the VFZ-1 is its unusually high input impedance for a vintage-style fuzz. The first transistor stage has been designed to preserve the natural harmonics of the guitar signal while staying fully compatible with buffered pedals and Wah effects—situations that would normally compromise classic fuzz behavior. This allows players to place the VFZ-1 anywhere in their signal chain without sacrificing tone, immediately eliminating one of the most persistent frustrations of earlier designs. The second transistor stage then shapes and refines the fuzz character, delivering an articulate yet saturated voice that responds dynamically to picking intensity and guitar volume, while staying controlled, musical, and remarkably quiet.
To support modern performance demands, VOX expanded the tonal versatility of the classic circuit rather than altering its fundamental character. The primary Fuzz control sets the core voice, after which the VFZ-1 provides added tonal refinement without straying from its authentic sonic foundation. A Bass Cut control allows players to manage how much low end enters the gain stages, making it ideal for balancing humbuckers, cleaning up neck pickup tones, or tightening rhythm textures. A Tone Cut control then shapes the high-frequency response at the output, allowing everything from smooth, violin-like sustain to brighter, cutting articulation while maintaining clarity and presence. For players who love the lower-gain character that vintage fuzzes produce when the guitar’s volume is rolled back, the VFZ-1 introduces a dedicated Crunch switch, instantly offering those expressive overdrive-like textures without requiring any change at the instrument itself.
The VFZ-1 embodies the spirit of early two-transistor fuzz pedals by capturing their mid-forward presence, liquid sustain, and touch sensitivity, but refines the experience with rock-solid stability, exceptionally low noise, and pedalboard-friendly modern power compatibility. Its rugged, compact enclosure reflects the toughness needed for contemporary gigs and studios while honoring the unmistakable aesthetic heritage associated with vintage fuzz.
By faithfully preserving the emotional impact, musical feel, and unmistakable character of late-60s fuzz while removing the inconsistency, fragility, and environmental unpredictability of original units, VOX has created a pedal that delivers legendary tone in a form that finally meets modern standards of performance and reliability. The VFZ-1 brings iconic fuzz within reach—consistent, expressive, and ready for any stage or studio.
For more information on the VOX VFZ-1 Fuzz and the full range of VOX products, please visit NAMM Booth #6802 or online at www.voxamps.com.
Street Price: $149.99 USD
Silvertone Announces the Return of the 1446
Silvertone has reintroduced the iconic 1446 semi-hollow electric – one of the most recognizable guitar models in rock history.
Played by artists Chris Isaak, Elvis Costello, Hubert Sumlin and more, the Silvertone 1446 is now available for the first time in decades, and that sound - and that guitar - can be yours.
Originally sold through the Sears catalog from 1961 to 1967, the Silvertone 1446 holds a special place in electric-guitar history. Over the last 60 years it has become one of the most sought-after models among recording artists and collectors.
Now Silvertone has reintroduced the 1446—meticulously recreated with modern performance features while honoring every detail that made the original a legend.
A Classic Reborn for the Modern Player
The new Silvertone 1446 delivers enhanced playability and tonal versatility while maintaining its iconic silhouette. The original “2×4 lumber” neck profile has been re-engineered into a comfortable modern-taper soft-C shape. A chambered center-block maple body improves sustain, reduces feedback, and opens up the guitar’s dynamic range—perfect for the demands of today’s stages and studios.
Two versions of the 1446 are available. The 1446V, available in Black finish, features a genuine Bigsby® B70 vibrato tailpiece that works seamlessly with a Tune-o-matic style bridge featuring roller saddles for exceptional tuning stability. The 1446T, available in Black or Tobacco Sunburst finish, features a ‘Trapeze’ tailpiece. The guitar’s 24 ¾” scale mahogany neck and rosewood fingerboard feature state-of-the-art “Semi-Hemispherical” frets for an ultra-smooth playing feel.
Vintage Mojo, Recreated with Precision
One of the most revered elements of the original 1446 was its pickups—mini humbuckers designed by Seth Lover and manufactured exclusively for Silvertone. Known as the P19, these rare pickups had a unique 3+3 pole-piece design and a distinct, lower-wind voice.
To recreate this sonic magic, Silvertone collaborated with renowned designer Trev Wilkinson. His new Wilkinson “R Series” mini-humbuckers are exacting, era-specific recreations featuring custom tooling, period-correct Alnico V magnets, and carefully matched winding. The result: the unmistakable clarity and warmth that made the 1446 famous.
“When you pick up this guitar, you immediately understand why the original became such a cult classic” says Silvertone Product Manager, Rick Taylor. “We set out to deliver the soul of the ‘60s 1446, but with the playability and reliability modern musicians expect. The new 1446 gives you inspiration from the moment you plug in.”
The Silvertone 1446VBK with the Bigsby vibrato tailpiece carries a street price of $999. The two 1446T models with the Trapeze tailpiece are priced at $799.
For more information about Silvertone, please visit SilvertoneGuitars.com.
Fender Unveils 2026 Product Line As Landmark Anniversary Year Begins
2026 is set to be a pivotal year for Fender Musical Instruments Corporation (FMIC) as it gears up to celebrate the brand’s 80th anniversary as well as 75th anniversary of the Telecaster and Precision Bass. With innovation, quality, and the brand’s renowned craftsmanship firmly at the forefront, Fender is kicking off the year by unveiling a new range of instruments, amps, and accessories.
Putting the evolving needs of today’s genre-spanning players at the heart of the latest lineup, notable highlights include a stunning new 30th anniversary edition of Fender’s legendary Hot Rod amp, new Squier Sonic and Minis, alongside new pedals and an array of accessories.
“Our 2026 product line showcases how Fender continues to evolve with today’s players while staying true to Fender’s legacy of craftsmanship,” said Max Gutnik, Chief Product Officer at Fender. “As we celebrate the brand’s 80th anniversary alongside 75 years of the Telecaster and Precision Bass, this new range from Squier to updated amps, underscores how we’re continuing to innovate with the same craftsmanship and player-centric focus that shaped these classics. This launch marks just the beginning of a full year of new products and announcements celebrating these milestones.”
SQUIER
Mini Stratocaster® ($199.99 USD, £179.99 GBP, €209.99 EUR, $369 AUD, ¥39,600 JPY) The Squier Mini Stratocaster® is the perfect companion for players seeking a reduced-size instrument with classic styling and familiar Fender® tone. Highlights include a thin and lightweight body, an easy-to-play “C”-shaped neck profile, a trio of Squier single-coil pickups with 5-way switching for sonic variety, and a hardtail bridge for solid tuning stability. Finish options include California Blue with Maple Fingerboard and White Pickguard,Sea Foam Green with Maple Fingerboard and White Pickguard, Black with Laurel Fingerboard and White Pickguard, Dakota Red with Laurel Fingerboard and White Pickguard,Shell Pink with Laurel Fingerboard and White Pickguard,Torino Red with Laurel Fingerboard and White Pickguard, Pink with Laurel Fingerboard and White Pickguard.
Mini Precision Bass® ($209.99 USD, £189.99 GBP, €219.99 EUR, $429 AUD, ¥39,600 JPY) The Squier Mini Precision Bass® is the perfect companion for players seeking a reduced-size instrument with classic styling and familiar Fender® tone. Highlights include a thin and lightweight body, a short-scale neck with an easy-to-play “C”-shaped profile, a Squier split single-coil pickup with volume and tone controls for sonic variety, and a hardtail bridge for solid tuning stability. Finish options include2-Color Sunburst with Laurel Fingerboard and White Pickguard, Black with Laurel Fingerboard and White Pickguard, Dakota Red with Laurel Fingerboard and White Pickguard.
Squier Sonic® Stratocaster® ($249.99 USD, £189.99 GBP, €219.99 EUR, $429 AUD, ¥35,200 JPY) The Squier Sonic® Stratocaster® is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Strat® sports a slim and inviting “C”-shaped neck profile and a thin, lightweight body for optimal playing comfort while a trio of Squier® single-coil pickups chime with crystal clarity for a wide variety of versatile tones. Further details of this model include a tremolo bridge for expressive vibrato effects, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Sienna Sunburst with Laurel Fingerboard and White Pickguard, Ultraviolet with Laurel Fingerboard, White Pickguard, California Blue with Laurel Fingerboard and Black Pickguard, 2-Color Sunburst withMaple Fingerboard and White Pickguard, and Black with Maple Fingerboard and White Pickguard.
Squier Sonic® Stratocaster® HSS ($249.99 USD, £189.99 GBP, €219.19 EUR, $429 AUD, ¥35,200 JPY) The Squier Sonic® Stratocaster® HSS is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Strat® sports a slim and inviting “C”-shaped neck profile and a thin, lightweight body for optimal playing comfort. The HSS pickup configuration denotes a humbucking (H) bridge pickup for substantial, high-output tone, complimenting the single-coil (S) neck and middle pickups that chime with crystal clarity. Further details of this model include a tremolo bridge for expressive vibrato effects, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Midnight Blue with Maple Fingerboard and Black Pickguard, Tahitian Coral with Maple Fingerboard and White Pickguard, Black with Maple Fingerboard and Black Pickguard.
Squier Sonic® Stratocaster® HT ($249.99 USD, £189.99 GBP, €219.99 EUR, $429 AUD, ¥35,200 JPY) The Squier Sonic® Stratocaster® HT is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Strat® sports a slim and inviting “C”-shaped neck profile and a thin, lightweight body for optimal playing comfort while a trio of Squier® single-coil pickups chime with crystal clarity for a wide variety of versatile tones. Further details of this model include a 6-saddle hardtail bridge (HT) for reliable intonation, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Sea Foam Green with Maple Fingerboard and White Pickguard, Torino Red with Laurel Fingerboard and White Pickguard, Arctic White with Maple Fingerboard and White Pickguard.
Squier Sonic® Stratocaster® HT H ($249.99 USD, £189.99 GBP, €219.99 EUR, $429 AUD, ¥35,200 JPY) The Squier Sonic® Stratocaster® HT H is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Strat® sports a slim and inviting “C”-shaped neck profile and a thin, lightweight body for optimal playing comfort while a Squier® humbucking (H) bridge pickup delivers substantial, high-output tone. Further details of this model include a 6-saddle hardtail bridge (HT) for reliable intonation, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Sonic Blue with Maple Fingerboard and White Pickguard, Black with Laurel Fingerboard and Black Pickguard, Flash Pink with Maple Fingerboard and White Pickguard.
Squier Sonic® Telecaster® ($249.99 USD, £189.99 GBP, €219.99 EUR, $429 AUD, ¥35,200 JPY) The Squier Sonic® Telecaster® is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Tele® sports a slim and inviting “C”-shaped neck profile and a thin, lightweight body for optimal playing comfort while a pair of Squier® single-coil pickups chime with crystal clarity for a wide variety of versatile tones. Further details of this model include a 6-saddle hardtail bridge for reliable intonation, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Canary Yellow with Laurel Fingerboard and White Pickguard, California Blue with Laurel Fingerboard and White Pickguard,Torino Red with Laurel Fingerboard and Black Pickguard, Black with Maple Fingerboard and White Pickguard, Butterscotch Blonde with Maple Fingerboard and Black Pickguard.
Squier Sonic® Esquire® H ($249.99 USD, £189.99 GBP, €219.99 EUR, $429 AUD, ¥35,200 JPY) The Squier Sonic® Esquire® H is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Esquire sports a slim and inviting “C”-shaped neck profile and a thin, lightweight body for optimal playing comfort while a Squier® humbucking (H) bridge pickup delivers substantial, high-output tone. Further details of this model include a 6-saddle hardtail bridge for reliable intonation, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Olive with Laurel Fingerboard and Black Pickguard,Ultraviolet with Laurel Fingerboard and Black Pickguard,Arctic White with Maple Fingerboard and Black Pickguard.
Squier Sonic® Mustang® ($249.99 USD, £189.99 GBP, €219.99 EUR, $429 AUD, ¥35,200 JPY) The Squier Sonic® Mustang® is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Mustang sports a slim and inviting “C”-shaped neck profile and a thin, lightweight body for optimal playing comfort while a pair of Squier® single-coil pickups chime with crystal clarity for a wide variety of versatile tones. Further details of this model include a short 24” scale length, 6-saddle hardtail bridge for reliable intonation, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Daphne Blue in Maple Fingerboard and White Pickguard, 2-Color Sunburst in Maple Fingerboard and White Pickguard, Torino Red in Maple Fingerboard and White Pickguard.
Squier Sonic® Mustang® HH ($249.99 USD, £189.99 GBP, €219.99 EUR, $429 AUD, ¥35,200 JPY) The Squier Sonic® Mustang® HH is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Mustang sports a slim and inviting “C”-shaped neck profile and a thin, lightweight body for optimal playing comfort while a pair of Squier® humbucking pickups (HH) serve up substantial, high-output tone. Further details of this model include a short 24” scale length, 6-saddle hardtail bridge for reliable intonation, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Black with Laurel Fingerboard and Black Pickguard, California Blue with Laurel Fingerboard and Black Pickguard, Flash Pink with Maple Fingerboard and White Pickguard.
Squier Sonic® Bronco® Bass ($259.99 USD, £209.99 GBP, €249.99 EUR, $479 AUD, ¥35,200 JPY) The Squier Sonic® Bronco® Bass is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This Bronco Bass sports a slim and inviting “C”-shaped neck profile with a narrow 1.5” nut width and a thin, lightweight body for optimal playing comfort while a Squier® single-coil pickup delivers punchy bass tone. Further details of this model include a short 30” scale length, 4-saddle hardtail bridge for precise intonation adjustment, sealed-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options includeDaphne Blue with Laurel Fingerboard and White Pickguard, Black with Laurel Fingerboard and White Pickguard, Tahitian Coral with Maple Fingerboard and White Pickguard, Arctic White with Maple Fingerboard and White Pickguard.
Squier Sonic® Precision Bass® ($269.99 USD, £209.99 GBP, €249.99 EUR, $499 AUD, ¥35,200 JPY) The Squier Sonic® Precision Bass® is ready to launch any musical adventure into warp speed, offering iconic Fender® style and inspiring tone for players at any stage. This P Bass® sports a slim and inviting “C”-shaped neck profile with a narrow 1.5” nut width and a thin, lightweight body for optimal playing comfort while a Squier® split single-coil pickup delivers punchy bass tone. Further details of this model include a 4-saddle hardtail bridge for precise intonation adjustment, open-gear tuning machines for smooth, accurate tuning and durable chrome-plated hardware that is sure to catch the spotlight. Finish options include Midnight Blue with Laurel Fingerboard and White Pickguard, Black with Laurel Fingerboard and White Pickguard, 2-Color Sunburst with Maple Fingerboard and White Pickguard, California Blue with Maple Fingerboard and White Pickguard.
FENDER AMPS
Hot Rod Deluxe™ 30th Anniversary ($1,299.99 USD, £1,269 GBP, €1,489 EUR, $2299 AUD, ¥203,500 JPY) For the past 30 years the Fender® Hot Rod Deluxe™ has been the quintessential backline amplifier on stages and in studios around the world. It’s perfect for players that need classic Fender cleans, a separate overdrive channel or just the perfect pedal platform. The Hot Rod Deluxe™ 30th Anniversary amplifier celebrates the legacy of this modern classic with a Limited-Edition version of the 40-watt road warrior that looks as incredible as it sounds. Features include: 40 watts; Normal, Drive, and More Drive channels Commemorative Black Western covering and vintage ‘50s brown and gold grille cloth, Celestion 12” G12M-65 Creamback Speaker, Polished stainless steel faceplate with Black chickenhead knobs, Leather handle, Modified preamp circuitry for increased overdriven note definition and Spring reverb modified for improved smoothness. The lightweight pine cabinet Includes 2-button footswitch and cover. Included is a certificate of authenticity.
Fender Mustang® Micro Plus Bass Expansion Update (NO ADDITIONAL COST) Get ready to drop the hammer on the low end. Fender is launching a massive bass firmware update for the Mustang Micro Plus. This isn’t just bass capability… It's a full-blown bass rig revolution in headphones, turning the Micro Plus into the ultimate silent-practice accessory for both guitarists and bassists. Unlock ten iconic bass tones that defined eras. Feel the thunder of the Super Bassman®, the modern punch of the Rumble V2/V3, the vintage snarl of the Bassman TV, and the huge headroom of the Dual Showman. Then dive into studio-ready warmth with the SWR® Redhead™, rock-solid grit from the Rockin' Peg, classic thump from the Flip Top, and sheer force from the KGB 800 and Monster. Every amp is meticulously crafted to sound so real, often forgetting practice is happening in silence. And for players with hot pickups or active electronics, we’ve added a Switchable Input Pad to keep everything clean, controlled, and pro-level.
FENDER PEDALS
Strobo-Sonic Pro™ Tuner Pedal ($129.99 USD, £95.00 GBP, €115.00 EUR, $189.00 AUD, ¥14,300 JPY) Strobo-Sonic Pro is ultra precise strobe tuner anyone can use, featuring an astonishing ±0.01 cent tuning accuracy in an incredibly pedalboard- friendly package. Designed with on-stage tuning in mind, the Strobo-Sonic Pro™ features a large, high-visibility LED display, auto brightness dimming and two easily trackable tuning display modes to provide effortless tuning for any player. Strobe display mode delivers hyper-sensitive accuracy that even the most discerning guitar tech will appreciate, while needle display mode provides a familiar tuning experience for any situation. Conveniently accessible side switches offer deeper control of the reference pitch and three bypass modes including true bypass, buffered bypass and buffered always-on modes.
FENDER ACCESSORIES
American Professional Classic Necks ($619.99 USD, £589 GBP, €699 EUR, 1199 AUD, ¥90,200 JPY)
The story of Fender’s modular design began in 1946, and guitarists have been writing their own chapters ever since. Fender’s pioneering bolt-on neck construction wasn’t just about making guitars easier to service—it was about giving players the power to shape their sound. Today, every genuine Fender replacement neck carries that legacy forward, offering endless possibilities for customization, restoration, and reinvention.
Crafted in the same facility as U.S.-made instruments, the American Professional Classic necks work well with almost any playing style. Features include our comfortable “Modern C” neck profile with a satin urethane finish that gives it a smooth, fast playing feel. The 9.5”-radius fingerboard with medium jumbo frets provides fast fretting and easy playability, while the hand-rolled fingerboard edges provide a slightly broken-in feel. The synthetic bone nut is pre-slotted with “pilot” string location grooves to make spacing a breeze when performing the final string slot filing. For true Fender authenticity, it’s also serialized and laser engraved with our “Genuine Fender Parts” logo on the heel. Model options include:
- American Professional Classic Stratocaster® Neck in Rosewood and Maple
- American Professional Classic Telecaster® Neck in Rosewood and Maple
- American Professional Classic Jazzmaster® Neck in Rosewood
- American Professional Classic Jaguar® Neck in Rosewood
Deluxe Wooden 2-Tier Multi Stand ($99.99 USD, £91.99 GBP, €109 EUR, $159 AUD, ¥16,500 JPY) Introducing Fender’s innovative line of Gear Furniture, featuring beautifully crafted, upscale stand solutions to serve players and collectors alike. Expertly designed with durable materials, this collection provides a stylish and functional way for players to proudly display gear. Elevate a music space with the Fender® 2-Tier Wooden Guitar Stand. Designed to hold an acoustic and an electric guitar, it features solid, sturdy construction, soft foam padding, and a rich walnut veneer finish that complements any room. Complete with a laser-etched Fender logo, it’s the perfect blend of form, function, and Fender legacy.
Deluxe Wooden Wall-Mounted Pedal Shelf ($79.99 USD, £74.99 GBP, €89 EUR, $139 AUD, ¥13,200 JPY) Transform effects pedals into a centerpiece with the Deluxe Wooden Pedal Shelf. This 24” angled shelf puts multiple pedals within easy reach while instantly enhancing a space. Made from durable plywood with a rich walnut veneer and a laser-etched Fender logo, this wall mounted shelf offers both a stylish display and convenient storage. Hardware and instructions are included—combine multiple shelves to create an expanded, custom pedal display.
2” Galaxy Strap ($31.99 USD, £28.99 GBP, €34.99 EUR, $49 AUD, ¥3,850 JPY) Turn heads with every chord. The Fender Galaxy Strap combines bold iridescent design with shimmering style and stage-ready durability, giving guitars a look that stands out from every angle. Reinforced Fender “F” leather cone ends keep instruments secure while playing. Durable, eye-catching, and built to perform—this strap adds a touch of cosmic flair to any musician's setup.
Classic Series Strat®/Tele® Galaxy Wood Case ($299.99 USD, £249 GBP, €299 EUR, $399 AUD, ¥35,200 JPY) Turn heads before even hitting the stage. The Classic Series Galaxy Case puts a modern spin on Fender’s iconic style with an iridescent Tolex exterior that shimmers from every angle. Plush cream acrylic lining keeps Stratocaster or Telecaster guitars secure, while durable construction ensures lasting reliability—where classic design meets cosmic flair.
Contour™ Galaxy Instrument Cable ($44.99 USD, £33.99 GBP, €39.99 EUR, $55 AUD, ¥4,400 JPY) Add some shimmer to the signal chain. The Fender Galaxy Cable brings stage-ready tone and striking style together in one premium design. Wrapped in iridescent faux leather that catches the light from every angle, it combines solid construction with 90% oxygen-free copper spiral shielding and durable nickel-plated connectors for crystal-clear sound players can rely on. Built to perform and built to last, this cable delivers durability, clarity, and unmistakable Fender attitude.
Professional Hi-Fi Ear Plugs* ($29.99 USD, £27.99 GBP, €32.99 EUR, $45 AUD, ¥3,850 JPY) Experience crystal-clear sound reduction with the Fender Professional Hi-Fi Plugs – advanced ear protection that maintains audio fidelity while protecting the user’s hearing. The high-level 20dB filters deliver consistent attenuation across frequencies, ensuring music sounds natural and balanced at safer volumes. Complete with both small and standard ear plug sizes plus a convenient mini aluminum case with clip, these ear plugs are perfect for musicians and music lovers who demand premium-quality hearing protection.
Deluxe Hi-Fi Ear Plugs* ($44.99 USD, £41.99 GBP, €49.99 EUR, $65 AUD, ¥5,280 JPY)Enjoy superior sound quality and protection with Deluxe Hi-Fi Plugs, featuring three interchangeable filter levels to customize protection. Whether consumers need medium protection for practice sessions, high attenuation for loud venues, or maximum reduction for extreme environments, these Deluxe Hi-Fi Plugs deliver exceptional sound quality at every level. The premium package includes multiple ear plug sizes, a connector cord to prevent loss, and a sophisticated dual-chamber aluminum case with clip for organized, portable storage.
Concert Foam Ear Plugs - 10 Pairs* ($14.99 USD, £13.99 GBP, €16.99 EUR, $25 AUD, ¥2,200 JPY) Keep the music loud and clear—without the ringing ears. Concert Foam Ear Plugs are made from soft, lightweight red foam that seals comfortably while cutting down harmful noise levels. With 10 pairs in every pack, players always have reliable protection on hand for shows, rehearsals, and jam sessions.
Tex-Mex™ Hot Stratocaster® Pickups Set ($99.99 USD, £99.99 GBP, €119 EUR, $199 AUD, ¥17,600 JPY)Building on the classic sparkle and bite of Tex-Mex™ Strat® pickups, this overwound set adds just the right amount of extra spice to a sound. With a slight increase in the number of turns, players get more output, extra punch in the mids, and a touch more growl—without losing the clarity that makes Tex-Mex™ pickups a player favorite. Perfect for pushing an amp into overdrive while still keeping that unmistakable Stratocaster®.
Tex-Mex™ Hot Telecaster® Pickups Set ($79.99 USD, £82.99 GBP, €99 EUR, $159 AUD, ¥14,300 JPY)
Building on the classic twang and bite of Tex-Mex™ Tele® pickups, this overwound set adds just the right amount of extra spice to a sound. With a slight increase in the number of turns, players get more output, extra punch in the mids, and a touch more growl—without losing the clarity that makes Tex-Mex™ pickups a player favorite. Perfect for pushing an amp into overdrive while still keeping that unmistakable Telecaster® bite.
Gear Radar: 7 Fresh Finds for Your Rig
Huge tube heads, mini modulation, and the return of a Peavey cult classic. Dive into this month's top gear picks for January 2026.
Godin ACS Steve Stevens Signature
The 2026 Godin ACS Steve Stevens Signature delivers a quilted maple top, unique purple finish, gloss neck, raygun logo, and his signature. “Godin Guitars are such a big part of my shows with Billy Idol,” says Steve Stevens. Includes premium hard shell case and extras
MOD-mini
Dial up the vintage vibe with Nobels MOD-mini, a compact powerhouse packed with lush modulation effects! Crafted to create epic sounds, the MOD-mini delivers a kaleidoscope of stereo tones. From the pulsating tremolo, to the funky phaser, to U-Vibe grooves, the MOD-mini takes you into a sonic time time warp!
Peavey Joshua Homme Decade Too™ Guitar Amp Combo
The Peavey Joshua Homme Decade™ Too captures the Queens of the Stone Age frontman's iconic tone. Featuring the unique Saturation™ switch for tube-like sustain, enhanced 3-band EQ with exclusive Bass and Top boosts, and 10-watts of solid-state power, this portable amp is perfect for home, rehearsal, or in the studio.
StroboVUE
Building on the legacy of StroboStomp HD, the view-only StroboVUE delivers Peterson’s renowned strobe accuracy in an always-on pedalboard format. Its angled, high-visibility display and fully top-mounted jacks keep setups clean. With no mute switch, pure buffered output, and continuous tuning feedback, StroboVUE is built for players who demand precision.
The BEAST
The BEAST is a 65W two-channel, cathode bias boutique tube guitar amplifier head. It features a clean channel with reverb and an overdrive channel, both with individual EQ controls. RC Davis amps are hand-wired point-to-point and have a unique 30dB tone stack.
Slash 3.0 Humbucker Set
A new addition to Slash’s signature sound arsenal, 3.0 adds more punch and aggression while retaining clarity. Built with rough cast Alnico 5 magnets and vintage-inspired construction, it’s a powerful new option for players seeking extra cut without compromise.
50th Anniversary Limited Edition JB / Jazz Humbuckers
Experience the true origin of the hot-rodded humbucker with the 50th Anniversary Limited Edition JB / Jazz Set. Built with historically accurate parts, including butyrate bobbins and rough-cast magnets, this set faithfully replicates the earliest production models. Presented in retro silver packaging and limited to 2026 production only.
“It looks like someone had a Fender Stratocaster described to them and then built their own version”: From Denmark Street to the TARDIS – Peter Capaldi reveals the story behind Doctor Who’s “junk shop” guitar
Peter Capaldi has shared the backstory behind one of Doctor Who’s most curious props: the electric guitar played by the Twelfth Doctor – and why its origins were far more deliberate (and guitar-nerdy) than fans might expect.
In a recent Instagram post, Capaldi – whose tenure as the Doctor lasted between 2014 and 2017 – recalls pitching the idea to the sci-fi show’s production team.
“I’d suggested that it might be fun if Dr Who played the electric guitar. I imagined he could plug it into the Tardis console and play very loudly and badly like a teenager,” he writes.
That search for the right instrument led Capaldi, director Daniel O’Hara and producer Derek Ritchie to Denmark Street on 17 December 2014. Often dubbed London’s Tin Pan Alley, the historic strip has long been a hub for songwriters, studios and guitar shops.
While a Telecaster initially seemed like a possible choice, Capaldi quickly ruled it out: “I had cited an old Telecaster as the most likely candidate, but they rarely come with tremolos,” he explains. “The Doctor needs a tremolo arm. And their classic shape produces a sort of ‘get me I’m a rock star’ look, which I didn’t fancy.”
Eventually, the team stumbled upon a guitar at the iconic Hanks Guitar shop that ticked all the boxes.
“It has a whammy bar, mock pearl scratch plate, and funny switches, all of which conspire to give it a junk shop aura. It is, for the guitar geeks out there, a Yamaha SVG 300 guitar,” Capaldi recalls. “I liked it because it looks like someone has had a Fender Stratocaster described to them and then gone off and built their own version. Perfect. And it had a tremolo arm. I loved it.”
The actor would go on to play the SVG 300 across seasons nine and ten of Doctor Who. Then, just as quietly as it arrived, the guitar vanished.
“I used it for two seasons of Dr Who and then, it disappeared,” says Capaldi. “I don’t know where it went. Vanished in time and space…”
The post “It looks like someone had a Fender Stratocaster described to them and then built their own version”: From Denmark Street to the TARDIS – Peter Capaldi reveals the story behind Doctor Who’s “junk shop” guitar appeared first on Guitar.com | All Things Guitar.
Paul McCartney reveals he nearly played on a Bob Weir record before his death: “Unfortunately it never came to pass”
Paul McCartney has paid tribute to the late Grateful Dead co-founder and guitarist Bob Weir, remembering him as a “great musician who inspired many people of many generations”.
Earlier this week, it was announced that the 78-year-old musician had passed away following treatment for cancer since last year, prompting an outpouring of tributes from across the music world.
McCartney was among those reflecting on Weir’s life and legacy, posting a heartfelt message on Instagram recalling the last time the two met.
“I last saw Bob when we went to the Sphere in Las Vegas to watch Dead and Co,” Macca writes. “He was very welcoming and during the interval in the show he invited us into his trailer, and it was a special moment to meet his family and friends. Bob showed me the recording set up that he had in the back of the bus so even though he was on tour he could make and record music.”
The former Beatle also reveals that the pair once came close to collaborating on new music together: “I offered to play the bass on one of the tracks he played me,” says McCartney, “but unfortunately that never came to pass.”
“His humour, friendship and musicianship inspired me and will inspire many people into the future,” McCartney continues. “Our family’s thoughts go out to Bob’s family at this time of loss, and I know they will remain as strong as he would wish them to be. God bless you Bob. See you down the road. Love Paul.”
As a founding member of the Grateful Dead, Bob Weir played a pivotal role in shaping one of the most influential and unconventional bands in rock history. Known for his distinctive rhythm guitar style and adventurous approach to harmony, Weir helped define the Dead’s eclectic sound – a fusion of rock, folk, blues, jazz and psychedelia that continues to influence generations of musicians.
The post Paul McCartney reveals he nearly played on a Bob Weir record before his death: “Unfortunately it never came to pass” appeared first on Guitar.com | All Things Guitar.
Gretsch Synchromatic Nashville review – “it’s an exhilarating ride but not for the fainthearted”
$1,259/£1,149, gretschguitars.com
How close should a budget copy come to the original design? Not too long ago you could rely on some sort of tell to give the game away – a slightly off headstock, obviously cheaper hardware or even a sub-brand label and logo. Less so now.
Gretsch has traditionally been happy to use the company’s name at a variety of price points, and relied on line extension to differentiate the various different strands of the family tree. Some models have, however, been reserved for the pricey stuff – until now.
Hot on the heels of the Synchromatic Falcon comes the Nashville – another entry into the Synchromatic series, which bridges the gap between the brand’s Indonesian and Korean-made Electromatics, and the Japanese Professional series.
Image: Adam Gasson
Gretsch Synchromatic Nashville – what is it?
To give it the typically over-verbose full name, the Gretsch Synchromatic Nashville Hollow Body with Bigsby is based squarely on the company’s original 6120 model. It was perhaps the most unapologetically orange guitar of the 1950s electric pantheon, and an iconic voice originally designed for Chet Atkins, subsequently seen in the hands of Duane Eddy and Brian Setzer, who also had signature versions of the design over the years.
This looks at first glance, if not like a vintage original, then very much like a Japanese-made one. We’ve got a deep orange stain finish on the all-maple body and the whole guitar is festooned with gold hardware from the Bigsby licensed B60 vibrato to the open back machine heads. There’s a pair of Hi-Fidelity Filter’Tron pickups and an Adjusto-Matic bridge with a pinned ebony base, too.
Controls-wise this is standard fare for a Gretsch with a treble bleed master volume knob, individual volumes for each pickup and a master tone. The shoulder-mounted three-way selector switcheroo feels positive and engaging. Did I mention this looks legit? The scratchplate even says Nashville on it.
There are some interesting things going on under the hood too. First we have the 24.6” scale length, which, while entirely appropriate for this model is considerably shorter than a Tele or Strat and a smidge less than you’d expect on a Les Paul or SG.
Also, while this is indeed a full-fat 2.5” depth hollow body guitar, there is some joined-up thinking going on with the inner architecture in the form of the Semi-Arc bracing – a modified take on trestle bracing with two ‘feet’ under the bridge but no need for the neck block feet seen in the traditional approach. The maple neck is carved to a soft C shape and features a genuine ebony fingerboard housing 22 frets. It feels immediately familiar and comfortable, now let’s plug in.
Image: Adam Gasson
Gretsch Synchromatic Nashville – playability and sounds
Pulling the guitar out of its included heavyweight hard case, and I’m instantly perturbed as to why the bridge is set quite as high as it has been – it’s a very quick and easy job to fettle it down to an acceptable height for comfortable playing, but still, odd.
That minor hiccup dealt with, and it’s onto the fun stuff. Few guitars respond to a straight into the amp approach like a Gretsch and I start by plugging directly into an old Cornford Hurricane with a curly lead. With all dials set at noon and the neck pickup engaged, a very convincing on-edge clean sound fills my studio.
On vintage models – often with heavy flat-wound strings – this evocative texture can easily get indistinct and woofy, but here we have much of the girth with none of the mud. Dial up the reverb and slide a tremolo in there somewhere and you are most of the way towards a very nice time indeed.
The middle position on any guitar is there for much more than funk and Hendrix-style double stops. That said, you can thoroughly enjoy both approaches here. It’s an exceedingly pleasurable in-between sound with enough poke to get through a mix while picking up the pieces or line dancing in a burning room.
It’s also the place to be when it comes to blending the pickup volumes to find new and delicious textures. Options are limited by the single tone control, but the guitar still responds well to changes in pick attack and hand position – you will get by, believe me.
The bridge ‘Tron on a Gretsch hollowbody is an iconic voice and this golden beauty gets us from Duane Eddy twang to Spaghetti Western in a heartbeat. This is très bon and encourages the player to unleash their inner Vic Flick. You can also get some very convincing Velvet Underground textures out of it which may well appeal to players who favour indoor sunglasses.
Aficionados may miss the “mud switch” tone control common to some models of the 6120 and there may also be those who would prefer nickel hardware to the spangly gold. A classic case of de gustibus etc. Nevertheless, this is very strong stuff indeed when played clean – time to filth it right up with a Crowther Hot Cake.
A sly helping of classic rage is all it takes for the Nashville Hollowbody to start grunting very nicely. There’s a sweet spot with big hollowbody guitars when it comes to dirt – less is more as everyone from Billy Duffy to Sylvain Sylvain and Richard Fortus will attest. The way a larger instrument vibrates encourages all sorts of belligerent whoops and howls that you just don’t get with a solid body – it’s an exhilarating ride but not for the fainthearted.
Back to the neck pickup and yes, things do get a bit mushy when we swap out the Hot Cake for a Bigfoot Engineering King Fuzz in search of saw-toothed glories. Engaging the bridge pickup, however, gives me an immediate shot of trouser-flapping violence that makes it all worthwhile. You can wreak havoc behind the bridge, you can Bigsby it to within an inch of its life and it will come up smiling every time.
In all the fun I realise I haven’t even fed it any Chet Atkins – I can confirm that it loves a thumbpick-driven Taste Of Honey.
Image: Adam Gasson
Gretsch Synchromatic Nashville – should I buy one?
Not long ago the idea of a Chinese-made instrument commanding a four-figure price tag would have raised eyebrows. While there remains a palpable difference between this and the Professional series, there is a strong argument that the Gretsch Synchromatic Nashville Hollowbody represents extremely good value for money, regardless of the country of origin.
Image: Adam Gasson
Gretsch Synchromatic Nashville – alternatives
Another Asian-made guitar with real big brand pedigree is the Epiphone Swingster ($799/£799), while Eastwood’s Bill Nelson Astroluxe Cadet DLX ($1,599) is a fine example of relatively affordable rockabilly fun. Another brand that has its roots in the big-bodied jazz guitars of ol’ New York is the D’Angelico Excel 59 ($1,999).
The post Gretsch Synchromatic Nashville review – “it’s an exhilarating ride but not for the fainthearted” appeared first on Guitar.com | All Things Guitar.
New BOSS Multi-Effects Processors
BOSS Announces GX-1 and GX-1B Multi-Effects Processors and FSC-10 Footswitch Cap
BOSS announces the GX-1 and GX-1B, two entry-level additions to the popular GX multi-effects series. The GX-1 is designed for guitarists, while the GX-1B is tailored for bassists. BOSS also expands its accessories lineup with the FSC-10 Footswitch Cap, a high-quality solution that makes standard metal footswitches easier to press while performing.
GX-1 and GX-1B
The GX-1 and GX-1B deliver pro-grade sound in ultra-portable platforms for practice, recording, and performance. Authentic GX series amp and effect algorithms supply endless creative fuel, while high-res color displays, intuitive effect buttons, and Gear Suite tools make sound creation a snap. Beyond the internal sounds and chassis colors, each product offers identical features.
The GX-1 and GX-1B make premium sound accessible to every player, from beginners and home enthusiasts to touring pros seeking an all-in-one travel solution. With a vast selection of amps and effects, adjustable effect order, and eight simultaneous blocks plus a volume pedal and noise suppressor, users can easily craft custom setups for playing different music styles and performing specific songs on stage.
Whether editing presets or building sounds from scratch, the GX-1 and GX-1B are designed for frustration-free creation. Hexagon-shaped panel buttons provide a visual representation of the effect categories, and it’s possible to turn effects on/off with a tap or access detailed parameters with a long press. There are 99 memories loaded with ready-to-play presets, plus 99 user memories for storing custom sound creations.
The GX-1 and GX-1B introduce Gear Suite, a powerful new feature that enables quick setup of amps and effects. Each type includes professionally tuned Gear Suite settings, and players can save favorites in user locations for instant access to personalized parameters.
The GX-1 and GX-1B each offer freely assignable footswitches and an expression pedal that support control of everything from basic effects on/off to multiple parameter targets. Going further, wired and wireless options are available for external control. Each unit offers three versatile power options (batteries, AC adaptor, or USB), allowing users to practice and perform anywhere.
In addition to their sounds and performance features, the GX-1 and GX-1B include Bluetooth® and USB connectivity to elevate practice and recording sessions. The BOSS Tone Studio app further enhances the user experience with YouTube integration, built-in rhythms, editing features, and pro sounds on BOSS Tone Exchange.
FSC-10 Footswitch Cap
Footswitch caps are an affordable way to enhance the functionality of traditional pedal switches, making them more visible on stage and easier to press. Molded from rugged, transparent polycarbonate that allows LEDs to shine through, the FSC-10 is a high-quality solution that works with a growing range of BOSS gear.
The FSC-10 is fully compatible with BOSS products that have metal footswitches, including multi-effects such as the GX-1 and GX-1B, select pedal effects, and Loop Stations. Each FSC-10 package includes 10 units.
Availability & Pricing
The GX-1 and GX-1B are available now for $229.99. The FSC-10 is also available now for $14.99.
To learn more about the GX-1, GX-1B, and FSC-10, visit www.boss.info.
Roland Announces CUBE Street Mini Multi-Instrument Amplifier
Roland announces CUBE Street Mini, the latest member of the CUBE Street family of battery-powered PA solutions for gigging musicians and street performers. CUBE Street Mini builds on the trusted CUBE Street legacy, delivering exceptional sound quality and features in an ultra-compact PA for cafés, small-scale events, and personal studios. It’s packed with class-leading tools to elevate solo and duo performances, including dual channels, built-in effects, Bluetooth® audio, and more.
With its convenient size and onboard battery power, CUBE Street Mini provides a great-sounding, all-in-one PA wherever users want to perform or practice. Setup is quick and hassle-free, with intuitive panel controls that are simple to operate. The integrated handle makes carrying easy, and the rechargeable battery provides up to seven hours of continuous power for long sessions and travel. An onboard tuner is also available for easy guitar tuning.
CUBE Street Mini features two flexible channels to support a variety of solo and duo scenarios. Users can perform with a guitar, keyboard, or Aerophone and a vocal mic, or connect mics to both channels for dual vocal performances. With onboard Bluetooth audio, it’s possible to stream music from a smartphone or tablet without using up a channel.
The main channel on CUBE Street Mini features inputs for a guitar, microphone, or stereo instrument, along with a panel selector that optimizes the sound for the current input type. The second channel has a versatile combo jack that supports a dynamic microphone via an XLR or TRS connection. Each channel includes a tone control, along with independent processing to color the sound with high-quality effects.
CUBE Street Mini produces clear, full sound with wide projection, thanks to its high-headroom dual amplifier and 2.1 design with two tweeters and a five-inch speaker. There’s also an integrated tilt-back stand and a mount for a mic stand, providing enhanced sound coverage for different performance needs.
The optional CB-MBC1 carrying case helps protect CUBE Street Mini while on the move. It’s made of strong, water-resistant material and features a shoulder strap and mesh pocket for stowing personal items or small accessories.
Availability & Pricing
The Roland CUBE Street Mini is available now for $199.99.
For the full press kit (available in several languages), including hi-res images, specs, and more, click here.
To learn more about CUBE Street Mini, visit Roland.com.
Ibanez Introduces New Alpha Series Electric Guitars for 2026
New for 2026, Ibanez has announced the debut of the Alpha series electric guitars, a line engineered from the ground up to meet the demands of the modern, performance-focused musician.
The Alpha models blend cutting-edge features with thoughtful ergonomics, leaning heavily into concepts that optimize tone and playability. Key specifications include multi-scale construction for enhanced clarity and intonation across extended ranges, and Fishman Fluence Modern humbuckers, providing versatile, noise-free, and aggressive tonal options.
The highly sculpted, ergonomic body design is central to the Alpha series, engineered for extreme comfort whether standing or seated. The lightweight body features a deep, comfortable forearm cut and an innovative lower body carve that facilitates both conventional and classical-style seated playing positions.
Some of the unique design innovations include a rear-mounted input jack for a cleaner stage profile, and an innovative three-bolt neck joint design. This system utilizes two screws mounted within an oval-shaped stainless-steel plate, complemented by a third screw driven directly from the body into the neck. This distinctive construction not only ensures robust joint strength but also significantly improves access to the high frets and enhances overall playability.
The Alpha series is offered in both 7- and 8-string configurations. Each model features one of three contemporary metallic finishes: Iron Pewter, Nebula Shift, and Coral Mirage.
Features
A527
- Parallel Wizard AS 5pc Maple/Walnut neck
- 691mm/27.2” scale at 7th string, 648mm/25.5” scale at 1st string
- American Basswood body
- Ebony fretboard w/Mother of Pearl Step off-set dot inlay
- Jumbo Stainless Steel frets
- Fishman® Fluence™ Modern Humbucker Alnico 8 (H) neck pickup
- Fishman® Fluence™ Modern Humbucker Ceramic 8 (H) bridge pickup
- Fishman® Fluence™ Voicing switch
- Mono-rail G2 bridge
- Black hardware
- Gotoh® MG-T locking machine heads
- Luminescent side dot inlays
- Gig bag included
- Finishes: Iron Pewter, Nebula Shift
LIST PRICE: $2,533.32
ESTIMATED STREET PRICE: $1.899.99
A528
- Parallel Wizard AS 5pc Maple/Walnut neck
- 698mm/27.5” scale at 8th string, 648mm/25.5” scale at 1st string
- American Basswood body
- Ebony fretboard w/Mother of Pearl Step off-set dot inlay
- Jumbo Stainless Steel frets
- Fishman® Fluence™ Modern Humbucker Alnico 9 (H) neck pickup
- Fishman® Fluence™ Modern Humbucker Ceramic 9 (H) bridge pickup
- Fishman® Fluence™ Voicing switch
- Mono-rail G2 bridge
- Black hardware
- Gotoh® MG-T locking machine heads
- Luminescent side dot inlays
- Gig bag included
- Finishes: Iron Pewter, Coral Mirage
LIST PRICE: $2,666.65
ESTIMATED STREET PRICE: $1.999.99
3rd Power's All-New Highline Series: Behind The Curtain With Builder Dylana Nova Scott!
PG contributor Tom Butwin sits down with Dylana Nova Scott, president and amp designer at Third Power Amplification, to explore the all-new Highline series -- a flexible set of vertical combo configurations for 3rd Power's wide-ranging amplifier offerings. Dylana breaks down the design philosophy of the Highline Series, plus the innovative features and tonal possibilities of her hand-wired amps built for players who demand both classic voice and modern flexibility.
Highline Series
When the amp stands taller, the sound meets you halfway. The HIGHLINE Series is a reimagining of how a guitar amplifier occupies space - visually, physically, and sonically. Inspired by the tall "player-facing" combos of the early 1970s, this vertically oriented enclosure lifts the sound field off the floor and places it where it belongs: directly in front of the player, with the controls at natural standing height. The result is a commanding, immersive wall of sound that feels bigger, clearer, and more immediate - and much easier to use. With flexible speaker configurations including dual 12", triple 10, or a 15"/10" pairing, the HIGHLINESERIES delivers classic authority with modern versatility, wrapped in timeless design. This is not a new amplifier - it's a new way to experience one.
The Shred Decoder: Expand Your Melodic and Rhythmic Control
In my experience, constructing lines has always been about texture and structure. Developing ideas for soloing and writing melodies takes a keen sense of harmonic and rhythmic context. It’s about seducing the listener and delivering a ride that’s hard to forget—a ride that caters to the listener. Of course, it’s important to write for yourself and from the heart, but also remember that if your heart’s intent is to inspire others, then you’re on the right track for the long haul. And this is where melody comes in.
Melody deserves a certain level of priority in relation to harmony and rhythm. In this lesson, I’m going to show you a quick way to start improving your lines. The good news is music knows no bounds and music doesn’t care what level you’re at. Harmony and rhythm need to help each other tell your story.
In Ex. 1 we’ll be playing the Em7 arpeggio (E–G–B–D) in two positions. Don’t worry, we won’t get into too much theory, just remember these shapes can be transposed into any key. The top one starts in 10th position and shifts up the neck, while the bottom one starts in 5th position. Getting these under your fingers will help map out quite a bit of the fretboard. I try to only visualize one octave at a time, and then take that shape and move it wherever I need to chase the melodic and rhythmic ideas that inspire me.
Ex. 2 follows the same idea, but this time using a Gmaj7 arpeggio (G–B–D–F#). I’ve chosen E minor and G major because they are closely related key centers. When learning these arpeggios, focus on the string pairs that occur in each octave. In the extended arpeggio that ascends from the 2nd fret, notice how the patterns recur in each octave. That’s not always the case, as you’ll see in the second arpeggio that ascends from the 9th fret.
Next, we’re going to use the first Gmaj7 arpeggio—the one with the recurring pattern—to practice running through a sequence. Think of Ex. 3 in groups of five. When practicing such lines, I like to use drum grooves instead of a metronome. Now here’s the twist: To progressively challenge my technique, I keep changing the subdivision of the meter I’m using. For example, we’re in 4/4 time here. As I develop the sequence, I’ll increase the subdivision from quarter-notes, to quarter-note triplets, to eighth-notes, to eighth-note triplets, then 16th-notes, and finally 16th-note triplets. That not only increases my speed but it also forces me to be rhythmically aware, thus giving me both speed and accuracy. It gives me full control. Take your time with this example because we’ll apply the same shifting-subdivision concept to the next one.
We revisit the Em7 arpeggio pattern at the 12th fret for Ex. 4. Let’s take a moment to talk about picking. Please use whatever technique you feel most comfortable with, but if you must know, in the corresponding audio clip I’m using as much legato technique as I can. For those not familiar with this term, it means I’m using hammer-ons and pull-offs to sound many of the notes, as indicated in the notation and tab. But there’s no need to get hung up in the picking technique. If you want to pick every note using alternate or economy picking, then do so with style. If you want to hybrid pick, go for it. The point is to increase your rhythmic knowledge and execute some creative ideas.
Now it’s time to step up the subdivisions. In Ex. 5 and Ex. 6, we’re using the same arpeggios we mapped out earlier, only this time we’re playing 16th-notes. If this is something you haven’t done before, don’t be alarmed. Just think of it as a slight increase in speed. Learning to shift subdivisions with seamless control is a great way to expand your ability to develop lines.
Enough with the exercises—let’s make some music. Ex. 7 starts out by traversing the Em7 arpeggio with 16th-notes, then transitions into the next octave using 16th-note triplets. Then for variety, we mix in some pentatonic lyricism. That brings me to a side note: Always step away for a moment from using only arpeggios by mixing in some pentatonic or scalar lyricism to your lines. A line composed of only arpeggios can sound stiff and redundant. One way to avoid this is to sprinkle some scale tones into the phrase.
In Ex. 8, we’re using Em7 arpeggios again, but the position conveniently gives us a full three octaves to work with. Instead of sticking exclusively to the basic shape, I also included some pentatonic moves. Notice how mixing 16th-notes and 16th-note triplets add color to the line. The key to sounding like a professional player is to make sure your playing offers the listener variety in rhythm and note choice.
We head back to the Gmaj7 shape for Ex. 9. It starts out in the lowest octave, which is at the 2nd fret, and once again mixes in that good ol’ E minor pentatonic (E–G–A–B–D) tonality. We repeat the same thing an octave higher, but because we run out of real estate, we need to slide up before finishing off the line in a G major tonality.
In our final example (Ex. 10), we return to the Gmaj7 arpeggio in its higher position, though we’re treating it a bit more lyrically this time around. No sequences, just playing bits and pieces of the arpeggio.
Martin CEO says “we’re only at the beginning of what’s possible” with new guitar designs
When Thomas Ripsam took over as Martin’s CEO back in 2021, he had his sights set on the “future”. That “future” is already starting to take form; in 2024, the company released the ultra-sustainable GPCE Inception Maple, with its combination of domestic tonewoods and a unique internal architecture marking the dawn of Martin’s next era.
In a new podcast with Guitar Center CEO Gabe Dalporto, Ripsam explains how Martin is keen to utilise even more alternative, sustainable tonewoods in future. “We still rely on a lot of traditional and exotic tonewoods… but those tonewoods get harder and harder to source,” he explains. “That means they become more expensive… so we are constantly looking for alternative materials.”
He points to ebony as a case in point. While the company has previously relied on ebony for its fretboards, certain models now boast Richlite fretboards instead. “We still use ebony, but we also use Richlite, which is an alternative,” Ripsam explains. “We are trying to use multiple paths… and we are [trying to] find new ways to use materials.”
Other changes have come in the form of multi-piece backs, like the D-35 and DH-28, with their respective three-piece and two-piece rosewood backs. Whether a multi-piece back affects your tone is up for debate, but it certainly wastes less wood and looks pretty cool. “Aesthetics are a big part of what gets you excited,” the Martin CEO says. “It’s not just about the tone and the sound.”
“I think we’re only at the beginning of what’s possible in coming up with with new designs,” he continues. “Like earlier this year, we introduced the CEO-11, which is a blue guitar. We don’t use blue that often, and I love colours… there were a lot of people who provided feedback [saying] they were totally enamoured with the blue.”
When Guitar.com spoke to Ripsam back in 2024, he explained how the GPCE Inception Maple was just the beginning. “It’s a very exciting guitar for us,” he said. “And it’s the beginning for us to actually do more around the use of domestic tonewoods and alternative materials.”
“I think what’s really cool about this guitar was, we didn’t just use our established models and slap domestic tonewoods on it,” he later added. “No, we actually really thought about the particular sound and what we need to do about the inside of the body to bring out the tone and the sound that we wanted. So it has skeletonised bracing, and sonic channels – a couple of features that we’re very excited about.”
“This is the beginning of a line of more of these types of guitars,” he noted. “That doesn’t take away from anything – people still can get their standard models! But I think this just adds to the palette.”
The post Martin CEO says “we’re only at the beginning of what’s possible” with new guitar designs appeared first on Guitar.com | All Things Guitar.
PRS Guitars Announces New Models, Colors, and Spec Updates for 2026
PRS Guitars made several announcements today that touch nearly every segment of its product offering. Along with the DGT Semi-Hollow becoming a permanent part of the Core Series catalog, the S2 Series gets a dual-humbucker, tremolo version of its offset staple, the Vela. Additionally, the Archon Classic 50 amp (launched in April 2025) now comes in a convenient, combo format for 2026. Rounding out the launch, PRS has made specification updates in the SE Series designed to add even more PRS DNA to the line, and of course there are several color updates across the catalog as well.
NEW MODELS
DGT SEMI-HOLLOW
Born from more than 20 years of collaboration between PRS Guitars and David Grissom, the DGT (David Grissom Trem) Semi-Hollow is based on one of David Grissom’s personal Private Stock guitars. It carries all the core features of the PRS DGT, including the wood selection, 22 frets, 25” scale length, the signature DGT neck shape, and jumbo frets, while adding the unique resonance and dynamics of a semi-hollow body. Equipped with custom-voiced DGT pickups, dual volume controls, and push/pull tone control, this model delivers a vintage-inspired voice.
"For me, the DGT Semi-Hollow has been a super versatile companion to my solidbody DGTs. The semi-hollow design has a bit warmer top end, a little less bottom than the solid body, and I can get more controlled feedback. I’m glad it’s officially joining the PRS lineup after a couple successful limited runs,” said David Grissom.
S2 VELA HHT
The PRS S2 Vela HHT takes the beloved offset staple and gives it a more modern edge with dual humbucking pickups and a tremolo bridge. With a pair of DS-01 humbuckers, the Vela HHT brings a full range of tones from the Vela’s signature sparkling cleans to a slightly more powerful, beefy low end. The Vela HHT also delivers an overall sharper attack, thanks to the humbuckers' exposed pole pieces. This model comes equipped with a push/pull tone control, allowing players to tap the humbuckers for expanded tonal range.
NEW AMP: ARCHON CLASSIC 50 COMBO
The Archon Classic 50 Combo is a grab-and-go format, two-channel amp that retains the voice, reliability, and power of the Archon Classic 50 head. Outfitted with a 12″ Celestion V-Type speaker, the PRS Archon Classic 50 Combo features an intuitive control layout with 3-band EQ, individual channel Volume and Master volume controls, Bright switch, and global Presence and Depth. For players looking to add a pedal board, this combo provides ample headroom and a built-in effects loop.
UPDATED SE APPOINTMENTS
For 2026, many PRS SE Series models will come standard with PRS’s proprietary Wing Buttons. This button design started all the way back in 1982 when Paul drew his first full guitar, and is meant to echo the 12th fret bird wingspan. While these new tuners are an aesthetic update, the primary reason for the change is tonal. Because these buttons are lighter in weight than their metal predecessors, they are subtracting less energy from the vibrating strings, thus helping the guitar ring longer and at a more musical note.
2026 also brings “sloped” pickup rings on all applicable SE Series guitars. These rings hug the pickups for a more polished look, elevating the aesthetic of the PRS SE Series once again.
NEW COLORS
The Silver Sky adds two new satin colors to its Maryland model: Black Plum and Mojave Brown. The SE Zach Myers is now offered in a second color: Elderberry Burst. The color palette across multiple series is now more expansive, with several options offered on a larger array of models. All model product pages are updated to show the full line of available colors.
For all of the latest news, click www.prsguitars.com and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.
How Ty Tabor Gets That King’s X Sound (It’s Not Tubes)
Lab Series amps, Orange CR120s, and that little knob inside his Strat.
Ty Tabor is one of those players whose unique tone has melted more message boards than you can shake a Strat Elite at, and whose lifelong commitment to solid-state amps is downright religious in its fervor.
The Axe Lords show no mercy in their inquisition as they compel Tabor to break down the classic King’s X rig and ooh and ahh as he explains how transistors force a different kind of playing. We also talk about how Tabor succumbed to tube temptation on Dogman — a move that almost gave a young Tom Beaujour a nervous breakdown, how he “floats” between major and minor, and what he’s fixing most often as a mastering engineer.
The episode ends on a more personal note as Ty shares how a serious accident derailed his ability to write music for years—and how he’s finally feeling those neural networks repair themselves as he works on a long-delayed solo album.
Axe Lords is presented in partnership with Premier Guitar. Hosted by Dave Hill, Cindy Hulej and Tom Beaujour. Produced by Studio Kairos. Executive Producer is Kirsten Cluthe. Edited by Justin Thomas (Revoice Media). Engineered by Patrick Samaha. Recorded at Kensaltown East. Artwork by Mark Dowd. Theme music by Valley Lodge.
Follow @axelordspod for updates, news, and cool stuff.
Follow Ty @tytabor and KingsX @kingsxofficial
VOX Introduces Hand-Wired AC15and AC30 Greenback Combos
VOX announces new additions to its iconic AC amplifier family: the AC15 Hand-Wired Greenback and the AC30 Hand-Wired Greenback. These new models are designed for players who want the unmistakable character, touch sensitivity, and harmonic depth associated with classic VOX amplifiers, while offering a warmer, mid-forward tonal profile and earlier speaker breakup thanks to their Celestion Greenback configurations. Built with vintage-accurate circuits, meticulously hand-wired construction, and refined modern functionality, the new AC15 and AC30 Greenback versions give guitarists a bold alternative voice within the revered AC lineup.
The AC15HWR1 Greenback model continues the legacy of the original AC15, delivering the distinctive chime, saturation, and feel that shaped generations of music, but doing so with a bolder and more grounded edge. Its EL84 power section and carefully voiced phase inverter distortion work together to produce the signature blend of clarity and harmonic richness that defines the AC15, while the Celestion Greenback speaker introduces faster breakup, warmer mids, and a tighter low end that players can push into expressive British overdrive more easily. The hand-wound output transformer, vintage-inspired power supply sag characteristics, and 12mm birch ply cabinet all contribute to its resonance, compression, and authentic response under the fingers. The familiar Normal and Top Boost channels remain, offering everything from warm thickness to refined chime, with a BOOST function unique to this model that adds midrange growl and more gain to drive the Greenback more assertively.
The AC15 Hand-Wired Greenback version is not intended as a simple reproduction; it is a tribute refined for modern demands. Updated functionality includes a master volume for better control, a transparent FET-buffered effects loop that can be fully bypassed when not needed, and a tube-driven spring reverb powered by its own dedicated circuit and output transformer for correct impedance and tonal integrity. The reverb’s Level and Tone controls allow players to blend depth and presence without masking the amp’s core sound, while the overall design preserves the musical compression and touch response associated with early 1960s VOX amplifiers, but without the instability or noise often found in vintage units. With 15 watts of EL84-powered output, the AC15HWR1 is suited for studio environments and small to mid-sized stages, and its earlier speaker saturation helps players reach the sweet spot at more manageable volumes, with the option to connect extension cabinets or attenuation devices when required.
Alongside it, the AC30HWR2 Hand-Wired Greenback version brings the same philosophy to one of the most influential amplifiers in history, offering the familiar feel of the AC30 while presenting it with a warmer tonal emphasis and a slightly darker midrange character. Like its 15-watt counterpart, its sonic identity is rooted in the EL84 power section and the subtle harmonic bloom generated as the phase inverter is driven harder. In this configuration, the twin 12" Celestion Greenback speakers reshape that response slightly, trading some of the traditional top-end brilliance for stronger midrange presence, smoother overdrive transition, and an authoritative yet focused projection that makes it particularly compelling on stage and in the studio.
The AC30HWR2 also features a custom-wound output transformer developed to recreate the harmonic behavior of original 1960s units and a 12mm birch ply cabinet that supports the amplifier’s natural openness and resonance. The Normal channel delivers thickness and warmth with the choice of added brightness, while the Top Boost channel keeps the trademark VOX chime but responds with increased control at lower volumes thanks to the Greenbacks’ earlier breakup. As with the AC15 model, its spring reverb is driven by a dedicated tube circuit with its own output transformer to keep clarity and proper impedance, while Level and Tone controls allow musicians to tailor its depth in the mix. A transparent, FET-buffered effects loop integrates modern pedal setups without compromising tonal integrity and can be bypassed entirely when a straight signal path is preferred.
With 30 watts of British tube power and dual Greenbacks, the AC30 Hand-Wired Greenback version has the headroom, authority, and dynamic response expected from an AC30, but reaches its saturated tones at more practical live volumes, offering a compelling alternative to traditional configurations. Both new models are designed for players who value the unmistakable feel of vintage VOX amplification but appreciate enhanced reliability, tonal control, and a different expressive character shaped by the Greenback speaker voice.
The AC15HWR1 and AC30HWR2 Hand-Wired Greenback versions mark an evolution of two legendary designs, preserving their heritage while offering guitarists a new way to experience classic VOX tone. For full specifications and other information, please visit NAMM Booth #6802 or online at www.voxamps.com.
Street price:
AC15HWR1 $1799.99 USD
AC20HWR2 $2499.99 USD
“You all can stop asking me if I am buying it now!”: Joe Bonamassa weighs in on the sale of Norman’s Rare Guitars
Norman’s Rare Guitars has been acquired by Carter Vintage Guitars and TNAG Global. The sale will see Carter Vintage Guitars acquiring more than 1,000 guitars, as well as Norman Harris’s personal collection, which he’s has been assembling for over 50 years.
Harris has been quite vocal about his desire to find a successor for his collection. In a 2024, a Norman’s Rare Guitars documentary saw the owner opening up about a slew of health scares, including a bout of cancer and a more recent heart attack. As a result, he’s been considering his legacy.
Time and time again, Harris has hinted that Joe Bonamassa was his first choice to inherit his collection. “For years, he’s been saying to me, ‘I want you to take over the store,’” Bonamassa revealed in the Norman’s Rare Guitars documentary. “But I have a job already.”
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“The problem is, if Norm’s not there to run it, then it’s just a namesake,” he continued. “It would just be a brand. When you take him away, you take away the heart and the soul. It wouldn’t be the same. There’s only one Norman Harris.”
In light of the news, Bonamassa has also shared his best wishes for the shop going forward. “I am extremely excited to see my Uncle Norm enter into this new chapter of his life and career,” he writes on X. “We all know that he will still be around being the master of ceremonies and dealing the coolest guitars in the world.”
“Congratulations to my friend Ben and the entire team at Carters Vintage on securing the legacy of the greatest guitar store in the world,” he continues. “With that said, you all can stop asking me if I am buying it now!”
I am extremely excited to see my Uncle Norm enter into this new chapter of his life and career. We all know that he will still be around being the master of ceremonies and dealing the coolest guitars in the world. Congratulations to my friend Ben and the entire team at Carters… pic.twitter.com/GOJL5J9vUM
— Joe Bonamassa (Official) (@JBONAMASSA) January 14, 2026
In a statement, Carter Vintage Guitars’ CEO Ben Montague is adamant that the acquisition will preserve the spirit of Norman’s Rare Guitars.
“To put it simply, our mission is to protect what makes Norman’s special,” Montague insists. “As we have with Carter Vintage Guitars, [we want to] preserve its legacy, and guide the business into its next chapter while expanding its reach to a global community of guitar players and collectors.”
As a result, the acquisition will see little changing about how Norman’s Rare Guitars operated. It will continue to have a home at its iconic San Fernando Valley location, with the same team, and Harris will also remain “actively involved” in Norman’s Rare Guitars operations.
“I’ve always known there would come a time when I needed the right long-term partner to carry Norman’s Rare Guitars forward,” Harris himself reflects. “I couldn’t imagine a better steward for the shop and its legacy than Ben Montague and TNAG Global.”
“The goal has always been to share my love of great guitars with the community, and this partnership allows that community to grow, while protecting everything that makes the shop special. I feel a deep sense of comfort knowing the shop, its history and its values will still be here for future generations of my family and for guitar lovers around the world.”
For more information, head to Carter Vintage Guitars.
The post “You all can stop asking me if I am buying it now!”: Joe Bonamassa weighs in on the sale of Norman’s Rare Guitars appeared first on Guitar.com | All Things Guitar.
“I thought if I f**k this up, I’m over” Steve Lukather on Toto’s Hold The Line: his ultimate guitar solo
“It was the first solo I cut on the album, and I was on the spot,” says guitarist Steve Lukather, speaking about his seismic, jaw-dropping lead run on Toto’s debut single, Hold the Line. “I was 19 years old, and I was scared shitless. I was in the studio with my guitar cranked to 10, and all of these guys were behind the glass looking at me like, ‘You better bring it, kid.’ They counted off four bars, and off I went.
“I had no idea what I was doing. I thought to myself, ‘If I fuck this up, I’m over.’”
Given the circumstances, Lukather’s nervousness was understandable. It was 1978, and he was a relative newbie held to scrutiny by the watchful eyes and ears of the LA session scene crème de la crème. “Jim Keltner was there, so was Waddy [Wachtel] and Kootch [Danny Korthmar],” Lukather remembers. “I’m sure they were all going, ‘Who’s this young punk ass? How did he get in here? He must’ve jumped the line or something.’”
A couple of Lukather’s friends were there, too, namely keyboardist-singer David Paich and drummer Jeff Porcaro. The guitarist had played with them a year before on his first big-time tour backing up Boz Scaggs, then riding high with his smash album Silk Degrees (half of which featured songs co-written by Paich). At the conclusion of the tour, the three, along with fellow Scaggs’ alumni, keyboardist Steve Porcaro (Jeff’s brother) and bassist David Hungate, talked about playing together again.
Line In The Sand
Hold the Line would prove to be an important song for Toto; in many ways, it wouldn’t be untrue to say that it was a catalyst for the formation of the band. “I was invited over to Paich’s house, and some of the other guys were there,” Lukather remembers. “David had a spinet piano, and he started playing the song. We didn’t have our instruments with us, but we were rocking out. He played me the riff on the piano, and I could hear how good it would sound on guitar. It was exciting. Jeff looked at me and went, ‘Yeah, man, that’s the shit!’ We all knew it had something. Some songs aren’t there at first. This one was. It kickstarted us being in a band.”
And so it was on that fateful day in Studio 55, when Lukather, gripped with fear and eager to prove that he had the right stuff, let loose with a spontaneous one-take wonder that combined impeccable phrasing and flamethrower intensity. When he was done, he looked at the folks behind the studio glass and asked, “Am I still in the band?”
“I wanted to be in the band so bad,” he says. “I was young and hungry. I mean, as far as I was concerned, this was the ultimate band. It was insane. And [singer] Bobby Kimball was a firecracker of a human being. Being near him was like sitting next to an M-80 – he was a big presence. That voice of his could break glass. Boy he could sing.”
The solo – like the song itself – sounds so well composed.
“We got in the studio, and everybody played the right part the first time,” he remembers. “I think we did two or three takes – that was the record. There were no demos. All the sessions we did, there were no demos or rehearsals – for anything. It was just a guy or a gal playing an acoustic guitar or piano, and we’d go, “Okay, there’s a chord chart.” We’d make little notes and come up with our own parts. After that, it was a question of where we gonna take it.”
Did David have the lyrics written out?
“Probably. He’d come into the studio with finished songs.”
That powerful rhythm guitar crunch – where did that come from?
“That’s what I brought to the band. Truth is, it was the most obvious part to play. I mean, it wasn’t like, “Wow, that’s genius.” I was just following the bass and piano part. Now, in doing that, it toughened things up. It wasn’t going to be just a little pop song. Jeff dug in with his drums a little harder than he would have on some other session. We were just discovering who the hell we were.”
Were you using a Les Paul on that?
“Yeah, that was a Les Paul. I may have just bought a 1958 goldtop. I did the main track on a ‘71 Deluxe burst, and when I overdubbed the solo, I think I played the goldtop. I think. It was a little bit ways back.”
Do you remember the amp?
“Absolutely. I was using a Fender Deluxe Reverb modified by Paul Rivera. I bought it off of a buddy of mine. Oh, I loved the amp so much. I begged him for it. He sold it to me for a couple hundred bucks – God bless him.”
Was it always known that you would play a solo in the song?
“The solo was built in. Paich was like, ‘Oh, you’re going to solo over this section’. I said, ‘Oh, wow.’ I was in the hot seat. It was one take until the very end when I did the harmony guitars. Dave insisted on that – ‘I want that Queen-Boston thing.’ For that, he punched me in and I played the first harmony, and then I doubled it. We did it as a three-part thing.”
Let’s drill down a bit. So you knew there would be a solo, but you didn’t plan it out at all, even a little bit?
“No! It was like, ‘Go. Play. Now.’ It was improvised. The solo was one take out of fear.
You made quite an entrance at the start of the solo. You must have known you had to come on strong.
I played something like that, and the rest was a stream of consciousness. I flubbed one thing at the very end, and Paich said, “Don’t worry about it. I was going to make you do that again to put the three-part harmony in there.”
Were you happy with what you played? After the one take, did you say to the guys, “I think I can do it better”?
“No. I was just hoping I was still in the band. [Laughs] I mean, we all mess up. Everybody thinks, ‘one take’, but I mean, when I was young and cocky and confident, I could go in there and nail it. I was sure I could. I already knew I could nail it before I nailed it. I wasn’t an asshole about it, but I knew inside myself, ‘I’m going to bring this. I’m going to be one of those guys that gets one or two takes and it’s done’. I would do that.”
I understand that you ran around the house in your underwear the first time you heard the song on the radio.
“That’s true. I was in my first house with my first wife, Marie. The album had just come out, and back then there were two stations we listened to – KMET and 95.5 KLOS. Those were our local rock stations when we were in high school. They kept saying, ‘You’re going to be on sometime.’ Oh, man, that was the dream. I got a call from Paich – ‘Turn on 95.5 right now!’ I’m in my underwear, I had just woken up. I turned on the radio and started screaming. Of course I’m dancing around the house in my underwear. Who wouldn’t? We were on the radio.”
What was it like to hear the sound of your guitar on the radio? I imagine the EQ might have sounded strange at first.
“It was surreal – the dream had come true. But you know what they changed the most? They cut the solo the fuck out to make it shorter so it could be on AM radio. They cut it out like it never happened. I remember being in my car going, ‘All right, we’re on the radio!’ Then it gets to the end and I’m like, ‘What?’ That’s what stations did. Most of the time, they played the whole thing.”
Has Toto ever done a show without playing Hold the Line?
“No, man. I mean, there’s certain things you have to do. I don’t play the solo exactly like on the record because I’m too lazy to learn it.”
You even play the song with Ringo and his All-Starr Band.
“Well, that was scary. They made me sing it, and I had to lower the key and everything. I have [saxophonist-singer] Warren Ham cover the really high bubble parts. I’m not a lead singer per se, but at least I’m not lip syncing it. You know what I mean? Nobody’s perfect. That’s the whole thing about fakery – people expect it.”
What’s it like to turn around to see Ringo Starr playing one of your songs?
“That never gets old. Never, ever.”
The post “I thought if I f**k this up, I’m over” Steve Lukather on Toto’s Hold The Line: his ultimate guitar solo appeared first on Guitar.com | All Things Guitar.
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