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

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

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

For more information, please visit www.TraceElliot.com

Street: $199.99 USD

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Street Price:

microAUDIO 22 $199.99 USD

microAUDIO 722 $269.99 USD

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Arabica offers the following features:

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

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

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

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

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

Brought to you by D’Addario.

Laughing Gaff

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

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

Tom DeLonge: The Next Michaelangelo?

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

Tom DeLonge’s Signal Chain

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

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

Green Ray

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

Take Off Your Pants and Jag-et

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

Mark Hoppus’ Signal Chain

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

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

Ernie Ball StingRay Bass

Neural Quad Cortex

Fender Starcaster

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

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

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

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

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

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

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

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

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

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

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

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

For more information, visit Martinguitar.com.

Channel the romance of steel wheels and distant whistles with this easy-to-play version of one of America’s most enduring train songs.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Learn more at EHX.

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

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

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

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

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

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

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

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

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

View this post on Instagram

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

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

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

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

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

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

At a glance:

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

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Best classic fuzz: EarthQuaker Devices Barrows

EarthQuaker Devices Barrows. Image: Press

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

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

Need more? Read our EarthQuaker Devices Barrows review.

Best multi-voice fuzz: Walrus Audio Eons

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

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

Need more? Read our Walrus Audio Eons review.

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

Image: Electro-Harmonix

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

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

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

Best octave fuzz: Beetronics Octahive V2

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

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

Need more? Read our Beetronics Octahive V2 review.

Best Harmonic Percolator type: Land Devices HP-2

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

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

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

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

Image: @mydeargear

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

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

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

Best fuzz for soundscaping: Noise Engineering Dystorpia

Image: Richard Purvis

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

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

Need more? Read our Noise Engineering Dystorpia review.

Best fuzz for gated effects: ThorpyFX Field Marshal

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

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

Need more? Read our ThorpyFX Field Marshal review.

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

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

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

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

Best filter fuzz: Dreadbox Disorder

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

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

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

Need more? Read our Dreadbox Disorder review.

Why You Can Trust Us

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

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

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

£329 / $399, thorpyfx.com

Collabs are all the rage in the pedal world these days, but it’s still exciting when you see someone enter the field that hasn’t been there before. Jesse Hoff, the main man behind Lazy J, has won a reputation as one of the world’s foremost boutique amp makers over the last few decades. You’ll find his takes on vintage Tweed amps on stages and in studios with everyone from David Gilmour and Noel Gallagher to Ed O’Brien and Joe Satriani.

• READ MORE: Horrothia Effects Triage Deluxe review – the ultimate all-in-one gain machine for fussy tonehounds?

Hoff is also no stranger to effects either, having put out the well-regarded Cruiser boost/drive pedal well over a decade ago. But collaborations? That’s a new one.

Thorpy main man Adrian Thorpe is much more familiar with that sort of thing of course – whether that’s making signature gear for Chris Buck and Danish Pete, or collaborating with pedal legend Dan Coggins to revive both the Dinosaural and Lovetone brands.

Two tone connoisseurs teaming up to make something altogether a bit different for both of them then? Well, that sounds like a lot of fun…

“I like to work with good people who genuinely inspire me,” Thorpe tells me. “Jesse is such a great guy, one of the great amp builders. I’ve been an owner and huge fan of his Lazy J J 20 amp for years. It’s such a harmonically rich and beautifully tactile amp to play. It’s taken us about four years of collaboration to develop The J pedal, and we’re really proud of the result.”

Image: Press

Lazy J x Thorpy Fx The J – what is it?

As Adrian implies, the primary mission of The J is to faithfully emulate the tones and response of a J 20 amp in compact pedal format, itself derived from the classic Fender 5E3 Tweed Deluxe amp. To do that, The J includes a built-in transformer that can mimic the real amp feel, paired with a circuit chock full of high-grade audiophile capacitors and such. All of it is built to Thorpy’s famously military-grade specs, and differs from the usual Thorpy fare by squeezing it all into a rather lovely UV-printed enclosure. It’s still recognisably a Thorpy pedal of course, but one that feels equally indebted to the Lazy J boutique amp lineage.

As with the original, you get the option of a normal or bright channel, and the controls are suitably spartan for an amp based on the similarly simple J 20 – with independent volume for each, as well as a presence control, single tone and a master output. Things you won’t find on the top of the J 20 include a toggle switch to select X or Y mode – the circuit’s impression of either 12AX7 or 12AY7 valves – as well as a ‘supply’ switch, which is designed to emulate the J 20’s impressive attenuator.

Image: Press

Lazy J x Thorpy Fx The J – usability and sounds

I’ve owned, gigged and recorded with both vintage tweed amps and J 20 for over a decade, and so I approached The J with a bit of trepidation. Surely it couldn’t capture the magic touch-sensitive 3D sonic experience of an amp that’s simultaneously chiming with top clarity and snarling with chewy, barking midrange?

Plugging my Strat into a Deluxe Reverb set sparkly clean, I set The J in the lower gain 12AY7 mode and select the normal channel. One thing that’s worth being aware of here is that, like the J 20, the positioning of the volume of the channel you aren’t using does have an impact on the gain of the one you are – a weird eccentricity for sure but one that I respect Thorpy and Hoff going to the trouble of recreating here.

With the supply, output and normal volume set high (and the bright volume low), I’m greeted with a fat, harmonically rich, very sweet edge-of-breakup up tone, just what I love about tweed amps.

The bright channel is – as you’d expect – a touch brighter, but also more gainy than the normal channel. But utilising the additional controls I can dial in everything from a fat clean boost to snarling fuzz tone freakouts, much like a great old tweed amp.

Plugging in a Tele is Keef riff and Cropper heaven, and upping the gain with my P-90-loaded Les Paul has me revelling in the rich tonal spectrum of Neil Young. It’s a chewy feeling, slightly flabby, gorgeously addictive and crucially, superbly touch responsive guitar tone that the Thorpy J convincingly nails, even when tried back-to-back with my J 20 amp.

As a tweed emulator pedal The J responds magnificently to a lighter touch or guitar volume manipulation, and not only crucially captures both the playing feel and tone of a cranked amp, but also a lot of the quirky nature of the unexpectedly interactive control set. Hours of lush tonal experimentation await the tone curious player.

Image: Press

Lazy J x Thorpy Fx The J – should I buy one?

Thorpy has been producing some truly superb pedals for many years now, but The J might very well be the brand’s crowning achievement. It’s a superb tweed amp emulation that more than lives up to the Lazy J name, but there’s more to it than just that.

Even if you never cared about capturing the authentic sound of a tweed amp, The J is a fantastic overdrive pedal in its own right – in fact, it’s one of the best sounding, most tactile and responsive dirt pedals I’ve ever had the privilege of playing.

Image: Press

Lazy J x Thorpy Fx The J – alternatives

Capturing Tweed in a box is a notoriously tricky task, for a decent flavour however the Catalinbread Formula No. 55 ($189) is a JFET-based overdrive designed to replicate those classic Tweed Deluxe flavours. More pricey, but the Origin Effects Deluxe55 (£279) is an all-analogue tribute to the legendary Fender 5E3 with some twists. If you’re after a more digital emulation of the tweed thing, the Universal Audio Woodrow ’55 ($399) is worth a look.

The post Lazy J x ThorpyFX The J review: “one of the best sounding, most tactile and responsive dirt pedals I’ve ever played” appeared first on Guitar.com | All Things Guitar.

Troubadour Charlie Parr brought a bit of history to the Fretboard Journal headquarters, a circa-1950 Gretsch acoustic that was owned by Spider John Koerner. The guitar was gifted to Parr by Koerner towards the end of his life.

It’s an unusual instrument, even by acoustic Gretsch standards. For starters, the headstock sports a mispelled logo. Beyond that, Koerner modified the instrument to be a 12-string, using mandolin tuners and a relocated pin bridge. “The top is wildly crooked. It shouldn’t work at all, but it does,” Parr explains. “I’ve been carrying it with me ever since John handed it over.”

The post Case Study: Charlie Parr on Spider John Koerner’s Gretsch first appeared on Fretboard Journal.

Dr. Z and EQD meld minds and come up with a most flexible tube preamp that can add life to the output from your amp or at the input of a DAW.

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Fender Musical Instruments Corporation (FMIC) has introduced Fender Studio as a new brand, unifying PreSonus® Studio One Pro and its renowned recording interfaces together under the Fender name. Starting this year, Studio One Pro becomes Fender Studio Pro, while the Quantum and AudioBox Go lines transition to the Fender Quantum Series and Fender AudioBox Go.

The reimagined Fender Studio Pro environment introduces an updated visual design, native Fender amp and effects plugins - a first for DAWs, a new channel overview for faster mixing workflows, updated samplers and an AI powered audio-to-note conversion tool for layering sounds and inspiring intelligent chord technology for creative songwriting.

For artists, producers and engineers, this move represents more than a name change. It brings together the trusted performance of PreSonus hardware and software with Fender’s deep legacy in tone and musical expression.

New Fender Studio products include:

Fender Studio Pro 8 – The only DAW that comes equipped with new Fender Mustang Native Guitar & Rumble Native Bass Plug-ins which contain 50+ guitar and bass amps, 100+ built-in effects, classic tones and pro presets.

Fender Quantum LT Audio Interfaces – a new USB-C audio interface available in three models that seamlessly integrates with Fender Studio Pro 8

Fender Motion – A creative controller for the next wave of music makers where unique integration with Fender Studio Pro sparks inspiration, shapes sounds and brings ideas to life. Available spring 2026

“For more than a decade, Studio One Pro has set the standard for modern music production,” said Max Gutnik, Chief Product Officer, FMIC. “Its balance of power, creativity and ease of use has inspired countless artists and shaped how music is made today. With Fender Studio Pro, we are taking those celebrated features and enhancing them with a modernized interface, Fender’s award-winning amp and effects models and new intuitive workflows and capabilities that make creating music faster, more inspiring and more connected than ever.”

Combining Studio One Pro’s celebrated features and trusted performance with a new modernized interface and intuitive workflows, Fender Studio Pro 8 features Fender’s renowned amps and effects models that make creating music faster, more inspiring and connected than ever. Available exclusively in the Fender Studio app and Fender Studio Pro, the Mustang and Rumble Native plugins offer 57 guitar and bass amp models and hundreds of effects for players to find their sound.

From iconic instruments and amplifiers to award-winning digital platforms like Tone Master Pro and Fender Play, Fender remains dedicated to inspiring generations of artists and creators through technology, tone and timeless design. The new Fender Studio brand represents the next evolution of that vision, where tradition and innovation meet in the service of creativity. Anchored by Fender Studio Pro and the Fender Quantum Series Interfaces, this next-generation lineup delivers reliability, premium sound quality and seamless integration across hardware and software, from the studio to the stage. Built for artists, producers and engineers, Fender Studio enhances the creative process and brings ideas to life without disrupting the flow of inspiration.

“Having authentic Fender amps and pedals built straight into the DAW is a game-changer,” said Alissia, GRAMMY®-Nominated Producer of the Year, Bassist and Artist. “Fender Studio Pro delivers true analog warmth with a seamless workflow.”

In this exclusive collaboration filmed at the legendary Power Station at BerkleeNYC, witness the creative process unfold as Nile Rodgers lays down his signature guitar work while Alissia crafts the perfect production. From initial concept to polished production, see how these two masters harness the full power of Fender Studio Pro’s comprehensive music creation tools.

Starting today, all existing PreSonus customers will continue to be served through the new MyFender platform effectively replacing MyPreSonus. This exciting new platform will not only serve software and hardware customers but the wider universe of Fender customers who purchase guitars, amps and effects.

In parallel, the PreSonus brand will continue to serve creators with industry-leading audio solutions like the acclaimed Eris® Monitors, StudioLive® Series III SE Mixers, Air XD Loudspeakers and more. As part of the FMIC family, PreSonus remains committed to its core mission of democratizing music creation and making professional-quality tools accessible to artists at every level. PreSonus customers will continue to receive full support and updates. Stay tuned for more exciting announcements to come in 2026.

FENDER STUDIO SOFTWARE

Fender Studio Pro 8 – Meet Fender Studio Pro, the next evolution of modern music creation. Effortlessly bring ideas to life with a fluid drag-and-drop workflow and a complete collection of inspiring virtual instruments, native plug-ins and authentic Fender Mustang Guitar and Rumble Bass amp models. Every tool is designed to enhance the creative process, helping artists capture ideas quickly, shape them with precision and transform them into professional-quality productions without breaking the flow of inspiration. See sessions with new clarity through Channel and Arrangement Overviews and explore legendary tone through Fender’s built-in amp and effects suite. The redesigned interface keeps production fast and intuitive, while AI-powered Audio-to-Note conversion transforms recordings into editable MIDI notes with a single click. Spark new ideas with Chord Assistant, program drums and chop samples using the updated Sample One and Impact samplers and add spacious dimension with the immersive Studio Verb plug-in. Bring a vision to life with video playback on the Show Page and capture inspiration anywhere through seamless Fender Studio integration (free desktop and mobile companion app). Fender Studio Pro delivers the tools, tones and technology that empower every artist to create without limits.

Pricing:

• Perpetual License ($199.99 USD, £169.99 GBP, €199.99 EUR, $349 AUD, ¥29,800 JPY)
• Pro+ Annual Subscription Plus Perpetual ($179.99 USD, £159.99 GBP, €179.99 EUR, $299 AUD, ¥26,800 JPY)
• Perpetual License Upgrade ($99.99 USD, £89.99 GBP, €99.99 EUR, $169 AUD, ¥14,800 JPY)
• Fender Studio Pro — Upgrade from 6-month Demo: Owners of Fender AudioBox Go, Quantum LT 2 and LT4 can upgrade the 6-month demo to a license for Pro+ Annual Subscription Plus Perpetual ($149.99 USD, £129.99 GBP, €149.99 EUR, $249 AUD, ¥22,350 JPY)
• Monthly Subscription ($19.99 USD, £19.99 GBP, €19.99 EUR, $34 AUD, ¥2,900 JPY)

Fender Studio 1.2 App Update – Available on iOS, Android, macOS, Windows and Linux, Fender Studio is a free tool available for anyone looking to record, practice or just have fun playing along with Jam Tracks. Compatible with audio interfaces on mobile, tablet and desktop devices, Fender Studio makes it easy for players to capture guitar riffs, vocals and more, with just one tap. Packed with powerful tones, Fender Studio is the only app of its kind with authentic Fender amp models. To help users progress on their journey into digital music production, Fender Studio 1.2 introduces a unique transmit feature that seamlessly sends Fender Studio sessions directly to Fender Studio Pro 8. The new Chord Track allows users to view and edit chords for the included Jam Tracks as well as add to their own sessions and even detect chords from the audio they recorded. Plus, a new Drum Metronome with over 75 grooves can be accessed after registering for free. Additionally, a new in-app purchase unlocks all Fender amps and FX in Fender Studio, alongside a higher track count of 32 tracks.

Pricing:

• Free to download
• Free registration unlocks more Jam Tracks, a higher track limit of 16, more amps and FX and the Drum Metronome
• All Fender amps, FX and a higher track count of 32 are available as an in-app purchase, or as part of an active Fender Studio Pro+ membership

Other software updates include Fender Studio Pro Remote, Fender Studio Hub, Fender Notion and Fender Universal Control.

FENDER STUDIO RECORDING HARDWARE

Fender Quantum LT ($149.99 – $499.99 USD, £129 – £469 GBP, €149 – €549 EUR, $239 – $899.99 AUD, ¥18,500 – ¥62,300 JPY) The Fender Quantum LT Series delivers professional recording results with effortless workflow, combining incredible sound quality, flexible connectivity and seamless integration with Fender Studio Pro in three streamlined, affordable interfaces. Each model includes custom low-latency drivers, MAX-HD microphone preamps with 75 dB of gain, Fender-optimized instrument inputs, balanced outputs, loopback routing and high-power headphone monitoring. Built-in integration with Fender Studio Pro and Universal Control ensures seamless hardware-software operation, allowing creators to fine-tune their direct mixes remotely for near-zero latency performance. Standalone Mixer Mode makes Fender Quantum LT versatile enough for live use, classrooms or portable rigs — while MyFender access simplifies registration, setup and support. For creators who need more, the Fender Quantum LT 16 expands the possibilities with 8 combo mic inputs and 8 additional TRS line inputs, MIDI I/O, DC-coupled outputs for synth and modular setups and an included Fender Studio Pro Perpetual license. With Mic Pre Mode, it even doubles as an 8-channel outboard mic preamp. Together with other key elements of the Fender hardware portfolio, such as Mustang amplifiers and Tone Master Pro, the Quantum LT Series completes a seamlessly connected ecosystem that moves effortlessly from studio to stage.

Fender Quantum HD ($599.99 – $1,099.99 USD, £489 – £889 GBP, €579 – €1,049 EUR, $999 – $1,899 AUD, ¥72,700 – ¥130,500 JPY) The Fender Quantum HD Series is engineered for creators who demand professional-quality recording with precision, power and flexibility. Each interface features high-definition MAX-HD preamps, ultra-low-latency drivers and 32-bit /192 kHz high-performance converters, capturing every nuance of instruments, vocals and full-band recordings with remarkable clarity. Fender instrument inputs ensure guitars and basses translate perfectly to the mix. Auto Gain simplifies setup, while re-amp outputs allow experimentation with amp and pedal setups. DSP monitor mixing and loopback routing streamline podcasting, streaming and tracking workflows. Control all critical functions from Fender Studio Pro or the Universal Control app, including preamp gain, phantom power and channel configuration — keeping focus on performance rather than setup. Fender Quantum HD scales with player’s studio needs: the HD 2 offers a 20 x 24 I/O setup ideal for project studios, while the HD 8 expands to 26 x 30 channels with ADAT expansion for large-scale recording.

Fender AudioBox Go™ ($99.99 USD, £79 GBP, €89 EUR, $159 AUD, ¥11,500 JPY) The Fender AudioBox Go is a compact, versatile 2x2 USB-C audio interface designed for musicians, podcasters and content creators who need professional-quality recording wherever inspiration strikes. With pristine 24-bit/96 kHz converters, a low-noise mic preamp and switchable +48V phantom power, the AudioBox Go captures vocals, instruments and line-level sources with clarity and accuracy. Featuring a dedicated instrument input for guitar or bass, a mic/line combo input for vocals or keyboards, two ¼-inch line outputs to connect to studio monitors and a ¼-inch headphone output, this interface provides everything needed to track and monitor recordings. Bus-powered and ultra-portable, it’s easy to take on the road or integrate into any desktop setup. Compatible with Fender Studio, Fender Studio Pro and most other audio apps, AudioBox Go is ready for recording, mixing and producing music or podcasts right out of the box.

Fender Motion™ ($269.99 – $349.99 USD, £279 – £369 GBP, €329 – €439 EUR, $499 – $599 AUD, ¥38,700 – ¥46,200 JPY) Fender Motion Controllers put Fender Studio Pro at players’ fingertips, giving instant access to timeline navigation, session controls and an Add button for instruments and effects—so players can record, edit and perform without leaving their instrument or breaking focus. Beyond Studio Pro, Motion’s dynamic FATAR® pads, vibrant illuminated encoders and expressive touch strips elevate any DAW workflow, letting creators improvise with intelligent scales, explore iconic chord progressions and shape sounds in real time. Available spring 2026.

After the final Black Sabbath gig in early July last year, extremely high estimates of how much the mighty celebration of metal had earned its chosen charities were reported across the media.

Ozzy Osbourne’s son Jack has since spoken out about these figures, and has said that each of the three charities selected by the band received around £1.5–2 million, with the rough total coming in at around £6–7 million.

• READ MORE: Nuno Bettencourt recalls his final conversation with Ozzy Osbourne – as “the only guitar player who said no” to playing for him

The gig was held at Villa Park in Black Sabbath’s home city of Birmingham, UK. It raised money for Cure Parkinson’s, the Birmingham Children’s Hospital and Acorn Children’s Hospice. The show featured solo music from Ozzy as well as a performance from the original lineup of Black Sabbath, and a mighty roster of other rock and metal greats. Ozzy sadly passed away just a few weeks after the event.

Across the media, estimate figures of the gig’s earnings for charity were as high as $190 million. Sharon Osbourne also shut down these claims, and similarly to Jack, provided a rough total of around $11 million (about £8 million): a brilliant total that will have a real impact, nonetheless.

Speaking on the Punk Rock Sober podcast, Jack says, “This is how you know the news is probably 90 percent bullshit, ‘cause it was, like, CNN and New York Times was saying ‘Ozzy raised $150 million.’ And it wasn’t that. I think what it came down to was, like, when all was said and done, because it was a charity gig, you still have to pay for the actual gig. No bands got paid, and most of the crew donated their time.”

He adds, “But I think when all said [was] and done, each charity got, like, one and a half or two million pounds [approximately $2.7 million] each. So, it was, I think, six or seven million pounds [approximately $9.4 million]. That’s what was donated to the three charities. I mean, we would’ve loved it if it was hundreds of millions. We would have been, like, ‘Fuck yeah.’”

You can watch the full interview with Jack below:

The post “You still have to pay for the actual gig”: Jack Osbourne says Back To The Beginning charities received around “£1.5m or £2m” each, despite media estimates being much higher appeared first on Guitar.com | All Things Guitar.

Gibson has revealed a new partnership with Keith Richards, unveiling two new super-limited Collector’s Edition ES-355s based on the Rolling Stones man’s own treasured 1960 ES-355.

150 guitars are available as part of the launch – 50 signed both on the instrument and label, and 100 with only a signed label. Developed in close collaboration with Richards, these guitars expectedly don’t come cheap, with the former priced at $19,999, and the latter at $29,999.

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Keith first used an ES-355 in 1969, both on the road and in the studio, namely during the recording sessions for Sticky Fingers and Exile on Main St. His black 1960 model, meticulously recreated for this launch, has accompanied him on every Rolling Stones tour since 1997.

According to the Gibson Gazette, the guitars have been handcrafted in the Gibson Custom Shop in Nashville, Tennessee, and are “exact replicas”. Its details were recreated using advanced 3D scanning, period-correct materials and construction techniques, with Murphy Lab hand-aging completing the guitars.

Both feature a multi-ply bound body made from three-ply maple/poplar/maple, with red spruce bracing and a maple centreblock for enhanced sustain and reduced feedback, weight-relieved at Richards’ request. Each has a mahogany neck with a custom Keith Richards profile, while premium hardware includes a Bigsby B7 vibrato tailpiece and Grover Rotomatic tuners with Milk Bottle buttons.

Each hosts a pair of unpotted Custombucker pickups with Alnico 5 magnets, wired to CTS 500k audio taper pots and paper-in-oil capacitors. These guitars ship in a Gibson Protector series case with a certificate of authenticity and a replica of the strap that Richards uses.

Check out the launch video below, featuring producer Andrew Watt, who worked with the Stones on their most recent album, Hackney Diamonds.

“This is my standard tuning six-string,” Richards tells Watt. “This is the other side of my thing. My six-string stuff has always been, you know, a great Gibson – that’s where I feel the most comfortable. And also with the sound. Put it through just about any amp, and it will sound the way you want it, because this has so much more room for expression.”

Find out more about the Keith Richards 1960 ES-355 Collector’s Edition at Gibson.

Credit: Gibson

The post Gibson uses 3D scanning and period correct materials to create an “exact replica” of Keith Richards’ prized 1960 ES-355 appeared first on Guitar.com | All Things Guitar.