What is it?

Wireless guitar systems were once the prohibitively expensive reserve of bands successful enough to afford a crew. They were stadium-rock fare, used to free up the performances of guitarists prone to wandering and to remove the potential for on-stage technical difficulties caused by yanked, tripped-over, or otherwise broken guitar cables, problems a tech couldn’t feasibly solve from sidestage.

Since the 1990s, wireless guitar systems have grown and become more accessible, but how many of them were truly trustworthy on tour? It takes a lot to trust something you can’t see; for my part, and as someone not often on large festival stages, I’ve traditionally favored the pure simplicity of plugging cable into thingy. But that was before I tried the Shure GLXD16+. I am now a wireless convert, and it is with sole thanks to the unignorable utility of this unassailable system.

The Shure GLXD16+ is a complete pro-grade wireless system for guitars, comprising a transmitter pack and a receiver pedal. It’s a dual-band system, capable of running in 2.4GHz and 5.8GHz; as well as some clever automatic interference-avoiding tech, the system is capable of transmitting up to 60m – far longer than most festival main-stage runways, let alone the width of any stage you’re likely to play.

The pedal portion of the Shure GLXD16+ system contains the brains of the system. From the pedal, you can manage connectivity between transmitter and receiver; it also has a built-in guitar tuner that switches between Needle and Strobe modes and fine-tunes between 432 and 447Hz. The pedal footswitch engages the tuner and mutes the output, but can also be used to switch between the wireless signal and an analog signal coming through the pedal’s ¼” jack input. The pedal is, at once, a receiver, tuner, killswitch, and ABY box.

Under the hood, a plethora of routing, transmission, and tuning options for practically every scenario – controlled by the four buttons that sit on each side of the receiver’s dot matrix display. These functions are especially useful when you have multiple GLXD16+ systems on stage, or two transmitters to switch between (which you can also do, by the way).

Speaking of which, the transmitter bodypack has a battery life of around 12 hours, with more on tap if you use just the 2.4GHz band; in a pinch, 15 minutes of charge will grant around 90 minutes of playtime, so you’re not likely to be caught short before it’s go-time at a show.

Both transmitter and receiver unit seem built to withstand your average thermobaric blast, with sturdy metal enclosures. The transmitter also has a pre-attached metal clip, which gets a solid purchase on your guitar strap, belt, or other such on-person item. This is rugged stuff, decidedly gig-proof in pretty much every way.

Specs

• Launch price: $637 | £559 | €579
• Type: Wireless system
• Range: Up to 100 ft (30 m) indoor/typical; up to 200 ft (60 m) line-of-sight outdoors
• Controls: Receiver: Footswitch (Tuner/Bypass toggling), Link button, Mode button, Channel button, Group button | Transmitter: Power switch
• Features: Dual-Band operation (2.4 GHz & 5.8 GHz), automatic frequency management and channel backup, built-in chromatic tuner with needle/strobe modes and customizable pitch/detune settings, multi-transmitter pairing support
• Connectivity: Receiver: 1/4" Instrument Input, 1/4" Instrument Output, USB-C (for firmware updates), 9V–15V DC Power Input | Transmitter: TA4M 4-pin mini connector input, USB-C (for charging)
• Bypass: True Bypass
• Power: Receiver: 9V–15V DC power supply (400 mA min, center-negative or center-positive | Transmitter: Included SB904 rechargeable Lithium-Ion battery (up to 12 hours runtime; fast-charges via USB-C)
• Dimensions: Receiver: 5.4" x 3.7" x 1.89" / 138 x 95 x 48 mm | Transmitter: 4.5" x 2.6" x 1.1" / 115 x 67 x 29 mm
• Weight: Receiver: 1.23 lbs (560 g) | Transmitter: 0.33 lbs (150 g)
• Options: Available regional frequency configurations (Z2, Z3, Z4, Z5 tuning bandwidths); spare SB904 Lithium-Ion batteries, SBC10 USB-C wall chargers, right-angle guitar cables (WA305 included is straight TS to TA4F)
• Contact: shure.com

Performance

Being a relative newcomer to wireless guitar rigs myself, I was expecting a half-day of ginning up on electronics, high-frequency radio principles, and the user manual of the GLXD16+ – but I couldn’t resist setting it straight up on my pedalboard first. And then I turned it on. And then it just worked.

The GLXD16+ system automatically pairs when turned on, finding the most viable channel from the jump, then continually moving between channels to keep the connection and signal strong. The default setting picks the best channel across both 2.4 and 5.8GHz, keeping interference to a minimum. To my ear, latency was functionally non-existent, and my guitar sounded indistinguishable from when I plugged in with a standard jack lead.

Before I got everything set up, I had a bit of housekeeping to do. The transmitter bodypack’s battery is packaged separately and needs to be installed – a process as simple and familiar as putting a battery in a digital camera – then fully charged before use. I left it charging overnight to be safe, since I intended to gig with it the next day, but I’m fairly sure the first charge took less than a few hours.

The GLXD6+ receiver, of course, is pedal-powered. It’s got a standard barrel jack port, is happy running on anything between 9V and 15V, and is even happy receiving either center-positive or center-negative polarity. The only limiting factor (quite literally) is the unit’s current appetite.

Shure recommends using its own provided power supply, or an isolated pedal power port with a minimum 400mA current rating. No problem if you’re rocking one of the best pedalboard power supplies on the market, but a bit of a problem for me, whose only available slot was a 120mA port; bundling the provided wall wart in with my pedalboard was no problem, though, and, if anything, guaranteed cleaner power for gigging.

Speaking of which, my road testing took the GLXD16+ system to a basement venue in Leeds as part of a two-piece noisyband on a four-band bill. Soundchecks and changeovers were tight, so I didn’t have much room for fenagling. Luckily, and again, with both units powered up, they connected immediately.

I expected some nudging around to find and set a clean connection, but the GLXD16+ system, of course, handles that cleanly, undetectably, and automatically, even while you’re playing. Between soundcheck and the show itself, the GLXD16+ system was the least problematic part of my rig.

Admittedly, on this occasion, that might not be saying much. For this particular band, my guitar amp of choice is a 1960s PA head with more dead spiders than transistors in it, and my pedalboard is a hodgepodge of boutique pitch- and time-based effects, ‘80s distortion pedals and home-made Harmonic Percolator clones held together with cable ties. It’s safe to say the GLXD16+ system was somewhat out of place, both on my board and on that bill. But it was also functionally and fault-wise invisible, and so, so practical. Having one less cable to trip over on stage is a hugely underrated experience.

The common assumption about wireless rigs is that they exist purely to solve the problems created by short guitar cables on long or large stages, and maybe to simplify setup for festival shows too: the haunt of bands that have Tour Bus Money™.

But you don’t need huge stages or stacked gig calendars to justify a wireless rig; knowing you won't accidentally rip a jack lead out of your guitar or pedalboard at any show is worth the price of entry alone. And knowing you don’t have to risk dropouts or poor signal is worth the price of the Shure GLXD16+.

For my part, being hemmed in by my pedalboards, and prone to frequently turning to the drummer for count-ins, emotional support, and ‘the nod’, I’ll often accidentally wrap my guitar cable around one or both feet, increasing the risk of yankage when I get a little animated. With the GLXD16+ system, I was at my least clumsy and my most bouncy. Win-win.

During such bounce-ful performing, I found that, for the most part, the transmitter stayed where I put it, on my guitar strap, about six inches from the jack output. After a very energetic half-hour of jobbing around the stage like a loon, it hung on quite well. I was doing a lot, and it would take a lot more to make this transmitter fly.

I found the tuner highly reliable during both soundcheck and set, too. My only bugbear was somewhat edge-case, relating to the shape of the receiver pedal’s chassis. My board usually has the tuner on the top row, so I can more easily access momentary effects on the bottom; the slanted front and angled footswitch made it difficult to access the tuner/mute switch from behind the bottom pedal. The dozens of you that’ll want to do the same will need some form of riser.

Across all of my testing, I never had to menu-dive for anything. This system is truly plug-and-play, which is a marvel when pro-grade utility equipment like this is so often pointlessly impenetrable. And I think this is exactly what you want from something like the GLXD16+. It just works. Remarkably well. Invisibly so.

Verdict

Truth be told, nothing much like the Shure GLXD16+ system exists on the market. Plenty of other wireless guitar rig options exist, most of which are significantly cheaper, but none offer this level of resilience, convenience, and quality in one pedalboard-friendly format. This is the only wireless guitar system I’ve seen that I would trust on a tour.

Naturally, such quality comes at a price, and it’s not a price many casual guitarists will feel comfortable paying. But if you spend any amount of time on more than one stage, this wireless system should catch your notice. It’s foolproof to use, seamless, and excellent-sounding. Coming from a long-time wireless-rig skeptic, the Shure GLXD16+ is a hard thing not to recommend.

Guitar World verdict: The Shure GLXD16+ is a complete wireless guitar system that integrates seamlessly with your pedalboard. It’s robust in every sense of the word; the hardware is reassuringly durable, and the strength and quality of wireless connectivity is unassailable. As a former wireless-guitar-rig curmudgeon, I am converted.

Also try

Hands-on videos

Shure

Pete Thorn

I’ve been covering Amazon’s Big Deal Days sale for the past few years now, and while it’s never been great for guitars, amps, and pedals, it’s always delivered when it comes to essential accessories. With the launch of the sale this morning, I made it my mission to search high and low for the best quality accessories, all at a price that’s below $20.

There are absolutely tonnes of no-name brand gear on there, which, while it might be cheap, I don’t think it’s worth taking a gamble on. You’re way better off going for a name brand if you want something that lasts, and thankfully there are loads of discounts on brands we all know and love, like Ernie Ball, Jum Dunlop, MXR, Fender, and more.

I’ve listed out the best deals I’ve found for you below; let’s get to it!

The onslaught of activity that is Amazon’s second-biggest sale of the year is finally upon us with the start of the Big Deal Days sale today. If you’re looking for a deal on an electric guitar, I’d look elsewhere. If you want to stock up on essentials like strings, picks, and other replishables, there are some amazing deals out there for the next two days.

I’ve looked through all the musical instrument deals in the sale, and there are loads of multipacks for electric and acoustic guitar strings right now. A multipack already saves you money versus buying them individually, so with these further discounts, it’s the perfect opportunity to stock up.

With brands like Ernie Ball, D’Addario, Elixir, Martin, and more available in the sale, I’ve rounded up all the multipack deals for you below.

Shop the full Big Deal Days sale

• Amazon: Big Deals Day guitar deals
• Guitars: Money off beginner guitars
• Amps & pedals: Save big on fresh tones
• Accessories: Strings, slides, straps, and more

More retailer sales

• 🇺🇸 Best US sales
• Guitar Center: 30% off Guitar-A-Thon
• Sweetwater: Massive studio sale
• Musician's Friend: Up to 50% off gear
• Positive Grid: 38% off Spark Neo Core
• Guitar Tricks: 1 month for $1
• Universal Audio: 10 plugins for $99
• IK Multimedia: Amplitube just $29.99
• Reverb: B-stock bargains
• Native Instruments: 100s of software savings
• Plugin Boutique: Free gift with every purchase
• Waves: Spend $50 get a free plugin

• 🇬🇧 Best UK sales
• Thomann: Shop hot deals
• Gear 4 Music: Big clearance savings
• Guitar Tricks: 1 month for $1
• Plugin Boutique: Huge software savings
• Waves: Sale on studio staples

It was only a matter of time before the guitar industry’s chief jokers, Chibson, weighed in on Fender’s controversial cease-and-desist campaign. Now, it’s entered the chat with cease-and-desist knobs.

Following its Cease and Desist toggle rings in the early 2020s – which poked fun at the various legal letters Gibson had issued over the years – this latest offering hits once again on the nose.

They come in a set of three, ideal for S-style guitars. They can be official Fender Stratocasters – or, as Chibson says, any S-style in your collection, if you are feeling brave. Those could even be guitars from brands like PRS, Yamaha, and LsL Instruments, who have been subject to Fender’s copyright dispute.

As their name suggests, the white knobs have “Cease & Desist” emblazoned on the tops – one word for each knob – and to round it off, they go to 11. That means your electric guitar can now go one louder…sort of.

“If anything can be learned from lawsuits of the past, it’s that guitarists love a little frisky controversy,” says Chibson. “With the release of Chibson’s Cease & Desist knobs, guitarists can support their favorite illegal guitar manufacturer while making a bold statement!”

So, the next time you buy an “illegal guitar,” throw its crummy stock knobs in the garbage, and get the ultimate upgrade.

The witty trio are available worldwide, and are priced at $19.99.

See Chibson for more.

Fender’s legal action, meanwhile, could be reshaping the guitar industry. Fender CEO Bud Cole has said the campaign will need to play out, but has addressed the quality control issues that fans have leveled against the firm in recent years.

In recent related news, Amazon was confirmed as another big-name brand to have been hit with a cease-and-desist.

It is one of 60 new companies targeted as Fender emboldens its copyright disputes in a bid to preserve the legacy of the Stratocaster. It comes after a German court ruling gave it legal protection of the body shape.

What is it?

When Floyd Rose commercially introduced his double-locking bridge-and-nut system at the dawn of the ’80s, it was a genuine game-changer thanks to its ingenious locking design that kept strings remarkably stable under heavy abuse.

So, what the hell does Floyd Rose have to do with the Steadfast Stopbar tailpiece I’m reviewing here? Well, for starters, Floyd Rose’s original invention showed guitarists that locking down the strings is key to tuning stability — whether behind the nut or at the bridge. Steadfast takes that same basic concept and flips it on its head, locking the strings in reverse at the stopbar tailpiece — particularly on guitars equipped with the traditional TOM-style bridge design.

Is the Steadfast Stopbar a game-changer? In some ways, absolutely — but it ultimately comes down to how you prefer to keep your strings locked in place and whether using a tool to secure them is a method you find comfortable and convenient.

Specs

• Price: From $99 to $169 | £73.48 to £125.43 | €85.78 to €146.44
• Type: String-locking stopbar tailpiece with locking set screws
• Origin: USA
• Material: CNC-machined billet 6061 aluminum
• Configurations (finishes): Faded (Silver anodized; $99), Studio (semi-polished Nickel; $104), Pro (Black anodized; $109), Standard (polished Nickel; $129), and Custom (24K Gold-plated; $169 as reviewed). Other configurations include Cerakote and Custom Shop finishes.
• Contact: steadfaststopbar.com

Build quality, usability and sounds

The Steadfast Stopbar looks exactly like, well, your typical Gibson-style stopbar tailpiece — except for a few ingenious details and, more importantly, a build that seems like it could last forever. It’s a direct drop-in replacement for a standard stopbar, but instead of the usual die-cast zinc alloy, Steadfast uses CNC-machined billet 6061 aluminum, resulting in an exceptionally lightweight, corrosion-resistant tailpiece that, according to Steadfast, can also provide a tonal upgrade. There’s a range of colors, finishes, and Custom Shop configurations to suit almost any top-mount stopbar-equipped guitar. Here I'm testing out the 24kt gold-plated Custom version.

The Steadfast retains the familiar string-entry and -exit points of a conventional stopbar, but is essentially engineered in reverse to accommodate its locking system. Six top-mounted holes house stainless-steel set screws that clamp the strings in place using the included 2.5mm hex wrench. (The Pro and Faded versions use black-oxide-coated steel set screws.) Their flat bottoms and rounded edges securely clamp the strings without digging into or cutting them, while their corrosion resistance ensures long-term durability.

The reason I used the Floyd Rose reference at the beginning of this review is that I’d always cut the ball ends off strings to lock the plain ends into the bridge saddles — until a guitar-tech friend showed me a simple hack: leave the ball ends intact, anchor them at the tuning posts, and feed the opposite ends into the bridge, eliminating an unnecessary step.

That same principle is at the heart of the Steadfast Stopbar. You thread the ball ends into the tuning posts, align the strings toward the tailpiece, and feed the loose ends through the Steadfast. Once you pull them through, simply tighten the set screws to lock everything in place. Essentially, the Steadfast turns the stopbar into a locking nut— only in reverse. By anchoring the ball ends at the tuning posts, you reduce string drift and slippage from excess winds, allowing you to tune up faster and maintain better tuning stability. I know it sounds counterintuitive, but trust me, it works.

One particularly clever design detail is the Steadfast tailpiece’s downward-sloped rear edge, which angles toward the body, so that when you cut the excess string wire, it keeps the trimmed string ends safely tucked downwards and away from slicing open your picking hand.

So, let’s get to it: how did the Steadfast work out for me? I outfitted my Gibson Les Paul Custom with the Steadfast Stopbar Custom, which looks almost identical to my original tailpiece save for the six locking holes on top. Swapping tailpieces is a little tricky at first because there are no strings to hold the Steadfast in place, but once the first string is installed, changing strings becomes a breeze.

I installed a fresh set, pulled the strings through, locked them down, stretched them, and trimmed the excess. The low E slipped and slackened considerably during its first few stretches, but I suspect the string was still seating at the ball end rather than slipping at the set screw. It’s a little unnerving to think those small screws can do the job, but boy, they securely lock all six strings in place.

Once everything was stretched and tuned to pitch, the guitar stayed remarkably in tune. Even more surprising, I could hear a tonal difference. The Les Paul sounded more lively and felt springier, and the entire restringing process took just a few minutes.

A couple of things are worth mentioning. I love Steadfast’s approach because I’ve never been a fan of locking tuners, especially on Gibson-style guitars. I don’t think they hold tuning any better, and I believe the added bulk and protruding locking wheel contribute to neck dive. Also, with Steadfast, you can easily reinstall the original stopbar if it’s not for you. Break a string? You can still restring conventionally using the ball end at the stopbar.

And yes, top wrappers, you can absolutely top-wrap with the Steadfast — it just takes some string maneuvering. Steadfast’s owner and designer does it himself, and a dedicated top-wrap version is in the works. I’ve seen it, and it looks pretty damn cool.

Verdict

Verdict: ★★★★★

I’d considered swapping my standard tuners for locking ones, but not anymore. Instead, I swapped the stock stopbar for the Steadfast, and now my guitar plays better than ever and stays perfectly in tune. I have a feeling you’re going to start seeing Steadfast tailpieces on plenty of professional players’ guitars. It’s that good. Right now, it’s on my main stage guitar, and it ain’t coming off.

Guitar World verdict: If you have a guitar with a stopbar tailpiece, the Steadfast changes everything. You get a locking system that keeps your strings secure while preserving the original look of your prized instrument. Its rock-solid design makes string changes quick and keeps tuning remarkably stable, much like a locking tremolo.

Hands-on videos

Steadfast Designs

Fender might have finally found the solution to single-coil hum with a new passive system that could have a major impact on your playing experience.

Single-coil pickups have been a huge part of Fender’s electric guitar legacy, but their inherent humming has always been a drawback.

Granted, there have been plenty of single-coil innovations over the years tasked with solving the same problem. Fender has its own Noiseless Pickup range, for example.

But with its new Silent System, Fender reckons it’s got the perfect solution.

The system is making its debut in Limited Edition American Professional Classic Stratocaster and Telecaster models, and it swerves from the usual noiseless pickup approach we’re well used to after 80 years of problem-solving.

Instead, the Silent System is a passive, battery-free system built into the guitars, and it’s designed to cater for “almost any pickup installed,” meaning aftermarket mods shouldn’t break the silence.

The system tucks discreetly underneath the pickguard, so these two new models look no different on the outside. Take the pickguard off, and you’ll find a fairly uncanny arch-shaped cavity, with a route to the pickup selector, controls, and pickups themselves.

What exact science is going on here remains a closely guarded secret, but the system lies in waiting, ready to snuff out any unwanted hiss.

Even then, it’s perhaps a little surprising to see Fender going to new lengths to cancel hum when its Noiseless pickups have been heartily received. They’re currently on their fourth generation. We sense a shootout is on the cards.

As for the guitars, the system is making its debut on two classic Fender chapes. The Strat is obviously the biggest test, with it packing three vintage-inspired Coastline ’57 pickups, but the Teles two Coastline ’63 pickups will also be a good litmus test.

They both feature modern C-profile necks and staggered ClassicGear Tuners, coming in at $1,599.99/£1,649 apiece.

The Strat is available in Three-Color Sunburst and Daphne Blue with rosewood fingerboards, and Olympic White and Candy Apple Red for the maple ‘board fans. The Tele ties Candy Apple Red and Sonic Blue with rosewood, and Vintage Blonde and Three-Color Sunburst with maple.

“The all-new offering brings the guitar community a game-changing answer to unwanted electrical hum without the need for compromise on tone, style, or even choice of pickup,” says Fender. “This innovative tech refresh is set to fundamentally change the playing experience.”

See Fender for more.

The timing of the system’s launch is also notable. Just two months ago, Fender Japan invested in modern pickup tech with its Active Modern series of guitars.

Since then, Gibson has launched its first Alnico 8 humbuckers, which it feels will be the future of tone, and collaborated with Baggs on a new state-of-the-art acoustic pickup system.

What that means is that two of the biggest guitar companies in the world are showing a commitment to the next generation of pickup tech. That’s pretty exciting.

Gibson is continuing to invest in the future of pickup technology. This time, it’s collaborating with Baggs to take acoustic guitar amplification to the next level with the all-new HiFi DNA pickup system.

After unveiling its new Alnico 8 magnet-powered ELEV8 humbuckers last week, it’s now bringing that same love to its electro-acoustic instruments. Excitingly, Gibson and Baggs – recently rebranded from LR Baggs – believe their new system is “the most natural, studio‑grade live tone ever achieved from an acoustic guitar.”

It’s bold talk, of course, but the collab reckons it has the evidence to back up its claim. Promising “high-fidelity, unprecedented realism, dynamic nuance,” it hinges on a dual Class A preamp architecture, which treats each sensor as its own studio channel.

That means each sensor runs through its own custom-voiced preamp before the signals are blended. The priority is keeping articulation pure and avoiding unintended interactions between the pickups.

A new sensor platform has also been designed and is said to be lighter, larger, and more responsive than previous formats. It’s crafted to react to the guitar as a whole, so it feels like you’re stepping inside the guitar itself, rather than hearing it amplified through a pickup.

Lloyd R. Baggs, Founder of Baggs, calls the system a “a big leap forward”.

“One of the discoveries that excited me most was bringing dual preamps to market,” he says. “We’ve known for years how powerful that architecture is, but it was never before feasible at scale.

“Now, each sensor has its own preamp stage before they’re blended, which keeps both signals pristine. If you combine two mic diaphragms – or two piezos – before amplification, they tug on each other, and the sound can get muddy. Separating them preserves every detail.”

“The two sensors work almost like a pair of choir mics: each hears a different part of the instrument, with enough overlap to feel natural and enough focus to stay immediate,” he adds.

“You get ambiance without losing attack, space without losing touch. It’s a new way of hearing and capturing the acoustic guitar – clear, alive, and deeply connected to the player.”

“What we’re able to do now is capture the true timbre and full dynamic range of a real acoustic guitar – so the player’s touch, nuance, and personality finally come through on stage the way they do in the room,” adds Robi Johns, Sr. Product Development Manager at Gibson Acoustic.

For now, the system is available exclusively in a range of Gibson acoustics, but aftermarket systems will be available later. The range includes classics like an SJ-200, J-45, and a host of Hummingbird variants.

See Gibson for more.

Considering that David Gilmour’s iconic Black Strat has sold twice at auction for a combined $18.55 million to make it the world’s most expensive guitar, it’s safe to say there’s money in rare Pink Floyd memorabilia.

By comparison, a gold Dark Side of the Moon plectrum is a veritable bargain at $6,400.

Having previously worked with other culture-starting British bands like the Who and Queen, The Royal Mint partnered with Pink Floyd for a special collaboration in May. This ‘that’s definitely not a standard issue Jazz III’ guitar pick is the result of a second wave of work together.

It’s limited to 10 pieces, each priced at £4,750, or around $6,400. Elsewhere, that could get you a Murphy Lab Gibson Les Paul, or a couple of premium PRS Silver Skys. But it is 18 Carat Gold.

The pick, the Royal Mint says, “is amongst the first of its kind,” and despite appearances, can be used to whack guitar strings. Personally, this writer wouldn’t dare, given the price, although Brian May and Billy Gibbons get a great tone from coins, so maybe I’m being cynical.

“A must-have collector’s piece for Pink Floyd fans,” the Mint says, “its tactile, beveled edge makes this plectrum a fully functional accessory for the guitar.”

“The iconic prism is instantly recognizable to fans around the world, and Henry Gray has done a remarkable job of bringing it to life with the craft and detail this band deserves,” director of commemorative coins, Rebecca Morgan, adds. “Their influence on music, art and culture is immeasurable, and we’re incredibly proud that The Royal Mint can play its part in preserving that legacy forever.”

Luckily, a copper version is available for just £39.95 (approx. $54), to appeal to more budget-conscious players.

In other Pink Floyd artifact news, the search for the late Syd Barrett’s Mirror Disc Telecaster goes on. There are fears that, even if a contender emerged, it would be nearly impossible to verify. Maybe the crack team that helped find Paul McCartney’s long-lost Höfner violin bass – who are now hunting for the Back to the Future guitar – are the people for the job.

See the Royal Mint for more.

Gibson has ushered in a new pickup era with the all-new ELEV8 humbuckers, which are said to be “the next generation of the Gibson humbucker”.

Notably, they recruit Alnico 8 magnets, which have been used for a Gibson pickup for the first time in its history.

The magnets combine with custom-gauge wire for punch and high-level dynamic response. For the eagle-eyed readers who feel the ELEV8 name sounds familiar, it’s because they’ve already featured in Gibson’s bold new Victory baritone model.

In short, they’re designed to be the best of both worlds, marrying “Gibson humbucker heritage with the power, clarity, and articulation modern players demand.”

Now made available as aftermarket pickups, they arrive in Standard, Plus, and Underwound models, each with four-conductor wiring. For those wanting to pimp their current squeeze, these passive pups represent a new high-gain option.

Seth Lover invented the original Patent Applied For humbucker in 1955. Since then, Alnico 2, 3, 4, and 5 magnets have been commonplace across Gibson pickups. But more is more, right?

Granted, Alnico 8 magnets have been around for a good few years now, but with the ELEV8 range, Gibson becomes one of the first major builders to invest in a magnet that can be seen as a hot-rodded version of Alnico 5.

The Standard pickups pack 10k ohms and come in both traditional Gibson neck and bridge spacings, with the ELEV8 Plus “thoughtfully overwound” at 15k ohms. With a tight bass response and a voicing better suited to high-gain tones, that makes it an ideal bridge ‘bucker, with a Standard model in the neck.

Meanwhile, the ELEV8 Underwound is also designed with the neck position in mind, and a touch more vintage in its character.

The pickups, Gibson believes, “give modern players the confidence to explore drop tunings, aggressive palm-muted riffs, and dense mixes without sacrificing precision.” Time will tell, but the recipe certainly suggests these are the hottest Gibson PAF-style pickups yet. Maybe, at long last, the Les Paul can assert its authority as a djent machine.

Not all of Gibson’s innovations over the years have been humdingers – robot tuners, anyone? – but this feels like the kind of evolution a lot of modern players will get behind.

Each pickup is priced between $139 and $149, and is available uncovered with Double Black or Zebra bobbins, or with Double Black bobbins beneath a nickel cover.

See Gibson for more.

Joe Bonamassa has another signature Seymour Duncan pickup set under his belt – and this one is inspired by the pawn shop SG that spawned his love for P-90s.

From vintage guitar shops to auctions and beyond, Bonamassa goes to great lengths to score rare pieces of gear. Sometimes, he finds beauties in more unlikely places, and it was a pawn shop guitar that ignited his love affair with P-90 pickups.

The guitar in question was a 1961 white Gibson SG, and now Seymour Duncan has faithfully recreated those underdog pickups as the Joe Bonamassa “Pawn Shop Special” 1961 P90 Set.

Promising “airy highs, expressive midrange, and snarling overdrive response,” they’re wired with Alnico 4 magnets and have been given a custom wind.

Each set uses period-correct components to “bring the coveted Nerdville tone within reach of every P90 aficionado.”

Bonamassa discovered the ’61 SG while on tour after a tip off from a tech. It was the best heads-up he’s ever had.

“Very rarely do you find a special guitar in a pawn shop,” he says. “Well, one day in 2010 I was playing the Embassy Theatre in Fort Wayne, Indiana. It was the middle of winter, and I heard there was a pawn shop around the corner with an interesting SG from one of the crew guys.

“I ended up bringing it back to the Embassy Theatre in Fort Wayne. I plugged it in, and these particular P-90s were the P-90s that I was searching for. Over the years, I always thought they were either too dark or too bright; not for me. But this was the beginning of my love affair with P-90s.”

That love affair has since seen him drop a stunning signature Iridescent Copper Epiphone Les Paul, saddled with Epiphone-made P-90s.

The “Pawn Shop Special” 1961 P90 Set is the first time Seymour Duncan and Bonamassa have worked on signature P-90s. Previous collabs have included recreating Tommy Bolin’s PAFs and single-coils inspired by his obscure Greenburst Strat.

The first 610 sets sold will include a Nerdville #001 inventory tag, a certificate of authenticity signed by Bonamassa and Seymour Duncan, and limited edition packaging. The sets are priced at $375.

Check out Seymour Duncan for more.

Elsewhere, Bonamassa has shown off how drop D can be killer for the blues, revealing how “hiding” your pick can make you a more expressive player.

Innovation Week: For most of the electric guitar’s history, changing pickups has meant commitment. Strings come off, screws come out, the control cavity opens and somewhere along the way a soldering iron gets hot. That’s fine if you’re installing a favorite set for good. Not so appealing if you simply want to try a different pickup five minutes later.

The idea of quick change pickups is not new. Dan Armstrong’s clear Ampeg guitars, launched in 1969, used interchangeable pickups that could slide in and out without dismantling the instrument. What has changed is the number of modern builders revisiting that idea and the different ways they’re trying to make pickup swapping as routine as changing a pedal.

Gibson takes a more straightforward approach with its Quick Connect system. Used on select Gibson guitars since 2011, it replaces traditional solder joints with plug in connectors inside the control cavity. It may not be as quick and easy as some other systems but with a screwdriver and a compatible Gibson pickup, the job becomes considerably less intimidating.

Seymour Duncan’s Liberator, EMG’s solderless system, Kwikplug by Guitar Fetish and Obsidian Wire harnesses follow the same general philosophy. They leave the conventional pickup mounting arrangement intact but remove soldering from the equation. For home experimenters, repair shops and players wary worried about cooking a lead wire or soldering a bad joint, solderless pickup connectors may be appealing.

The most dramatic reinvention comes from Guitar X, whose Swiss developed magnetic, removable module mounting system allows pickups to be pulled through the rear of a compatible guitar and replaced in seconds. Guitar X offers mounted pickups from Cream T, Fralin, Seymour Duncan and others, while its technology has also found its way into guitars from additional builders.

Somnium takes a more engineered approach with their Tonestorm system. It uses machined aluminum cartridges that snap into the guitar body and make their electrical connection automatically. The cartridge can house standard pickups from different manufacturers, including active and passive designs, and a loaded module can be changed in seconds.

Aclam takes a similar route with its AECPUS Exchangeable Cartridge Pickup System offered on Canivell guitars. Pickups live in cartridges that lock into a rear frame using gold plated contacts, allowing players to move between single coils, humbuckers and P 90s without removing strings or reaching for a soldering iron.

Other builders expand the modular idea beyond one pickup at a time. Reddick’s Voyager guitar uses complete removable pickup layouts plus separate control modules, so a player can move from humbuckers to single coils, P 90s or Tele style combinations in seconds.

Fern’s Phoenix guitar goes further by putting pickups, controls, wiring and capacitors into completely interchangeable cherry wood modules that can be swapped out in seconds.

Then there are newcomers like The Boaz One which uses complete pickup cassettes, while Shark Guitars uses a one button release module that accepts standard single coils, humbuckers, P 90s and active pickups.

The Gyrock system from France’s Wild Customs is perhaps the most mechanically ambitious quick change design in the category.

Rather than removing one pickup and installing another, the guitar houses several pickups inside the body on rotating drums, mechanically shifting the desired pair beneath the strings and giving players access to as many as 15 real pickup combinations. The pickups are mounted in removable Gyrock modules accessed from the rear, so the cartridges themselves can also be replaced with different pickups.

The advantages of quick-change systems are pretty obvious but there are also some drawbacks. Most true cartridge systems require a guitar designed specifically around them, or some fairly serious modification to an existing instrument. And because many use their own proprietary format, they only really work if enough guitars, pickups and replacement modules are available to support the system.

The cost for some of these systems may be out of range for some players and many guitarists still like the idea of owning several guitars rather than asking one instrument to impersonate all of them.

So, has the soldering iron finally met its match? Not quite. Most of these systems still live in their own little worlds and they’re not compatible with each other. Once you commit to a particular system, you’re kind of stuck there.

Plenty of players will keep soldering the old fashioned way simply because that’s how they like to do things. But the idea that every pickup swap has to become a wiring project is starting to feel a little dated. The soldering iron isn’t going anywhere, but it may finally be getting some competition.

Tom Morello has added an EMG pickup set to his ever-growing collection of signature guitar gear – and it brings the sounds of his most famous electric guitar into the hands of modders.

The TM set marries an EMG 85 in the bridge with an EMG H in the neck. It is the same pairing that has powered his ‘Arm the Homeless’ guitar for decades, and the first time this combo has been made readily available as a set.

They’re even stamped with the classic EMG logo to match the vintage ’80s gems they’re based on.

As you’d expect from ‘buckers with Morello’s name on them, the 85 offers growl and bite aplenty. The active pickup is said to still retain clarity, though, and promises an “expansive low-end body that sounds great for clean tones.”

Morello chose it for its “sustain for solos and power for big riffs” when he was modding his right-hand axe in the late 1980s. But the H is where things get a little more unusual, as it delivers a classic single-coil sound, despite being a humbucker.

In that, Morello says there’s a lesson to be learned.

“Some of the greatest riffs of all time are done with a single-coil pickup,” he observes. “To me, it was the springiness of that sound, and the way that [Rage Against the Machine drummer] Brad Wilk and I play together, that created a heaviness that was very unique.

“A lot of times, guitar players think they have to have the most manly, alpha, distorted sound in order to be heavy,” he continues. “That’s not the trick. It’s the tone, and the chemistry of the people you play with. This pickup has made fields of people bounce up and down over the course of the last three decades.”

Interestingly, Morello’s ‘Arm the Homeless’ guitar was actually a disaster to start with, but then it changed rock history in a dramatic turn of events. Fender has since recreated it as a signature model, arriving after Morello put his name to a Neural DSP plugin in 2023. He also has a namesake overdrive with MXR.

The EMG TM signature set for Tom Morello is available now.

See EMG for more.

When you think of the iconic guitar sounds on some of the biggest records in rock, consumer equipment definitely isn’t the first type of gear that comes to mind. But a small and mighty consumer device from SRS called The WOW Thing changed that, and proved that great guitar tones can come from the most unlikely of places.

This is the story of how a quirky, lo-fi spatial effects processor built for consumer audio became a studio secret weapon: “the little plastic box that makes guitars a big thing.”

History

SRS Labs began as SRS (Sound Retrieval Systems), a psychoacoustic research branch of Hughes Aircraft in the early 1980s. The mission was to create a realistic 3D soundstage from stereo audio.

In the 1990s, acquired and rebranded SRS Labs, they brought multiple products to the consumer market, including a tiny box full of sonic voodoo called the WOW Thing. This modest desktop hardware was intended to make inexpensive computer speakers sound more full and spacious.

Nobody working in professional audio should have cared. But a mix engineer working on what would become one of the biggest albums in rock history accidentally stumbled on what it could do, and the secret eventually got out.

Sonic secret sauce

The WOW Thing works by utilizing a unique blend of extreme equalization, psychoacoustic processing and phase delays. This dramatically widens the stereo sound field and boosts low frequencies.

It’s built around three proprietary technologies. SRS 3D widens the stereo image. Originally conceived for car playback where speakers are not ear level, Focus “lifts” the sound vertically. Designed to make small speaker drivers sound huge, TruBass uses psychoacoustic bass enhancement to give the source material a deeper natural low end.

It employs similar EQ moves to what’s traditionally done in mixing guitars – emphasizing low end, a scoop to clear low midrange, and a subtle lift in the high-end presence. Processing like this is ubiquitous today with plugins, but in the early 90s it was fairly revolutionary.

Discovery

“Wider, brighter, and huge.” That’s the way engineer Randy Staub (Metallica, Mötley Crüe, U2) described how the WOW Thing sounds on guitars. He stumbled on the software version while listening to music on his home computer and discovered what it could do to distorted guitars: thicker bass, a high-end lift, and gentle low-midrange scoop that helped them sit perfectly in a dense mix.

At the time he was mixing Metallica’s Black Album and was searching for a way to make the guitars sound bigger and wider. The WOW Thing provided the sonic secret sauce he was looking for.

He told Ultimate Guitar: “I started using the WOW Thing on guitars to spread them out in the stereo image, and that’s what I’ve been using for years and years.”

In the mix

He also set the device to boost the bottom end, add more presence to the high frequencies and attenuate some midrange. It helped the rhythm guitars feel bigger and separated them from the vocals and snare, which tend to occupy overlapping areas of the frequency spectrum.

The WOW Thing provided a way to make doubled guitars larger-than-life in a unique way, rather than standard processing like EQ and compression, which created definition between the layers of tracks.

Since it was designed to process stereo material, Staub used it on stereo guitar busses and pairs of panned guitar tracks. The result is a thick, defined sound that’s still a gold standard 35 years later.

Korneff Audio’s plugin

Eventually, recording engineer Dan Korneff (Breaking Benjamin, Papa Roach, My Chemical Romance, Paramore) got turned on to it and was using it in his mixes when he decided to create a plugin version. “This happy accident changed what we thought was possible for electric guitars,” he says. “Instantly you can hear the guitars get wider and deeper.”

As the WOW Thing secret got out, original units became increasingly difficult to find. Korneff Audio, formed in 2019, designed a plugin version that closely models the hardware in sound and GUI, operates in mono and stereo, and extends the capabilities.

Under the hood are selectable frequency centers for the TrueBass control (from 40Hz to 400Hz) and options of two different spatial processing types for the WOW control to sound like the desktop or Megawide rackmount versions. There’s also a Blend control for parallel processing, and a switch that sets the low end mono to achieve a wider stereo effect.

The TrueBass control adds low-end depth that thickens and cranks a source to add novel low end effects. This makes it versatile enough to use with downtuned and extended range guitar tracks. It sounds equally great on guitar busses too. There’s also a TrueBass Dynamics switch that adds a four-band frequency-dependent compressor for better control over the low end.

As far as why Korneff decided to create the plugin he says, “I wanted my guitars to be as huge as Randy Staub’s,” Korneff said, explaining why he created the plugin. “This does all that and more – like the guitars are giving you a bear hug.”

Happy accidents

Recording has always rewarded outside-the-box thinking and new approaches to timeless techniques. It’s fascinating that a consumer audio device that originally sold for just $20 became a secret sonic weapon that found its way onto iconic rock records.

The effect the WOW Thing has had on professional mixing is proof that the tools used for production matter less than how they're used.

Guitar Center has revealed its five best-selling electric guitar string sets. The winner might not be overly surprising, but there are certainly a few twists in the rankings.

The guitar store chain has over 300 stores across the US and a bustling online business. As such, it’s crunched the numbers to reveal which string sets players are going for.

Perhaps unsurprisingly, all five sets are a 10-46 gauge. The outright winner is Ernie Ball’s Regular Slinky set, which Guitar Center believes is “as close to an ‘industry standard’ as electric guitar strings can get.”

The list of high-profile endorsers on the packet might help their appeal. Despite stiff competition, Ernie Ball remains top dog.

The GHS GBL Boomers Light set is a somewhat surprising silver medallist. Guitar Center believes their “bright, snappy tone” and “pronounced attack” have won the hearts of enough players to see D’Addario settle for the last podium place.

Interestingly, though, it’s the premium NYXL light set, rather than its more budget-friendly EXL pack, that makes the cut. The nickel-plated, high-carbon steel strings feature a hexagonal steel core that improves durability.

DR Strings PHR10 Pure Blues Medium set and the Elixir NANOWEB Light pack settle for fourth and fifth place. The DR strings are described as having an old-school round steel core that produces a warm, punchy tone, resulting in a “uniquely distinctive sound.” It makes them something of a wildcard in the lot.

That makes the Elixirs the only coated string set in the top five. Elixir’s NANOWEB tech coats the entirety of each string, including the grooves and gaps between windings, to act as a shield from gunk and grime.

On paper, that means each string will last much longer, meaning fewer restrings. Notably, the coating is designed to be as thin as possible, so they still have the texture and feel of regular strings.

“Strings are an essential accessory – not quite as exciting as amps, pedals and guitars themselves – but they don’t have to be an afterthought,” says Guitar Center.

“If you’ve been thinking about changing allegiances, or are just curious about what other players are using, these are the perennial best-sellers, evidenced by the actual sales data as well as the high number of favorable ratings and reviews.”

In related news, the Guitar Center CEO recently gave his theory on why Stairway to Heaven was banned in guitar stores, and explained why its new in-house brand won’t be making copyist axes.

D’Addario has admitted generative AI was used in the creation of one of its recent product demos.

The update comes after the string maker routinely denied allegations of using AI-generated music in the promo for its NYXL HD electric guitar strings. D’Addario first shared its latest statement as a pinned comment underneath an older Instagram post.

“We got this wrong. We’ve completed a full review and confirmed that Suno Studio was used to regenerate the original track,” the statement says. “We shared inaccurate information, and we’re truly sorry.

“We do not support AI-generated music, and our process will reflect that going forward. We’ll require our employees and creative partners to disclose any use of generative AI, and we’ll more closely review everything we put into the world.”

Last month, D’Addario was accused of using AI music service Suno for a social media promo video. The company denied any wrongdoing despite scrutiny from the online guitar community. Comments mentioning AI were also being deleted from the original post.

D’Addario first issued a statement denying the use of AI altogether, sharing the track’s Logic DAW session, which was supplied by its creator. When glaring irregularities between the session and final track were pointed out, the firm then claimed LANDR and Logic AI mixing and mastering tools had been used without its knowledge.

That concession was also met with skepticism. D’Addario said the inconsistencies that had been identified between the demo track and the Logic Session resulted from the non-generative AI tools.

Commenters once again pushed back, asserting that AI mixing and mastering tools could not have generated the tempo and melody changes that were present in the final track. LANDR’s official account even waded in to confirm this.

D’Addario now claims it was fed false information concerning the origin of the track, and that it shared the song without any knowledge that it had been created using Suno Studio.

“Music is made by people – their ears, hands, taste, and emotions,” the company says. “D’Addario exists to give artists the tools to shape their own sound, not to blur the line between human creativity and AI-generated content.

“We also got comment moderation wrong. Honest criticism should not be erased. We’re changing how we moderate our channels so feedback can be heard while people are protected from threats, harassment, and exposure of their private information.

“We know we can’t fix this with another statement. D’Addario exists because musicians trust our products with their sound, and we’re committed to earning that same trust in how we show up for this community.”

D’Addario has set the record straight after it found itself embroiled in an online AI controversy.

The string maker was recently accused of using AI-generated music in the demo for its new NYXL HD strings. It then came under fire for its response video, which showed the recording’s workflow in an attempt to confirm that AI had not been used in its creation.

The video was scrutinized by the online guitar community. Some believed the pitch and tempo discrepancies between the original demo and the response proved AI had in fact been used.

But now D’Addario has published a lengthy statement explaining the making of the demo track, asserting that generative AI was not used, but AI-assisted production tools were.

“We share the growing alarm that generative AI can remove the musician from the creative process,” the statement begins. “In a recent post featuring one of our products, many people questioned whether we employed generative AI in our demo track.

“The track was written and performed by one of our employees who was proud to create an original piece to show off a new string he helped to develop.”

D’Addario charts the “complex” way the track was created. It notes an excess of plugins to “compress, auto-tune, EQ and distort” the DI guitar that was used, alongside 12 programmed synthesizers and a drum track with four compressors.

“The result is a track that exhibits the hallmarks commonly found in generative AI music, and it is understandable that this sound would elicit such a response from the community,” D’Addario observes.

“There were excessive non-AI tools used to make the original composition sound ‘more produced’. This added a lot of extra noise and inorganic details to the mix which people misunderstood as signs of AI-generation.”

As for the discrepancies present in the session video, D’Addario explains the response clip showed a pre-mix and pre-master demo. The original, meanwhile, used two AI mastering tools that further muddied the water.

“This is where the confusion lies,” it says. “While Generative AI was not used in the creation of this music, by virtue of using Logic’s ‘Mastering Assistant’ feature and LANDR’s Assister Mastering, AI did assist with the mixing and mastering process post DAW export which caused noise and drift.

“Most of the digital artifacts that people online have taken issue with come from an unusual take on modern production techniques.”

D’Addario ends its statement by apologizing for the confusion caused, stressing it is, above all else, experts in music accessories – not audio production.

“We knew we had nothing to hide; we just needed the time to understand why our take on the situation was so different than others in the community before we responded,” it says. “We’re genuinely sorry for the delay in response and confusion it caused.”

D’Addario’s statement has gone a long way to de-escalate the situation, though opinion is still divided. Several D’Addario artists including Yvette Young, Plini and Mike Dawes have voiced their support, but some commentators are yet to be fully convinced by the company’s explanation.

Visit D’Addario’s Instagram page to read the full statement.

D’Addario has come under renewed fire from the guitar community over its handling of a recent AI scandal the company found itself embroiled in.

Last week, the string and accessories giant was accused of using AI generated guitar music in a demo video for its new NYXL HD electric guitar strings. It was also criticized for deleting comments and blocking users who were leveraging the accusations.

D’Addario strongly denied the claims and defended deleting comments, saying it was safeguarding the guitarist who featured in the demo video from harassment.

While admitting it had made a mistake by using such a heavily processed track for the demo, D’Addario asserted it “was not created by AI” and that “all guitars were tracked in real-life”.

The company also shared a follow-up video of the recording’s workflow, which seemingly showed the multiple guitar tracks and production that was used.

However, the response has found itself at the center of renewed controversy, with commenters and YouTubers accusing D’Addario of further fakery with its BTS video.

YouTubers Danny Sapko and KDH have both scrutinized the clip, alleging the song depicted doesn’t match up to the original demo and claiming it is in fact a completely different recording.

Both Sapko and KDH highlight glaring differences between the original demo video and D’Addario’s response. In certain instances, the guitar playing doesn’t match up. There are inconsistencies between lead lines and rhythm parts throughout the track.

The audio between the two also drifts out of sync when played side by side. Sapko says this is particularly damning, as he notes that music generated by AI platform Suno – which many commenters are accusing D’Addario of using – doesn’t stick to an exact tempo and can drift.

“Whether it’s AI or not, the video evidence they have provided is clearly not the same as the original,” Sapko insists.

Sapko and KDH aren’t the only ones to voice their skepticism over D’Addario’s response. Big name YouTubers, musicians and producers have also weighed in on the Instagram comments.

“A generally pathetic attempt at saving face, and insulting to the musical community you serve,” bassist Adam Neely wrote. “Proof you shouldn’t let interns post on socials,” Music is Win’s Tyler Larson added.

YouTuber and producer Malyan wrote, “It really feels like you're insulting your customers (and endorsers) intelligence, and it’s such a shame. I’d stake on this being the real version, and the other being AI. As for the reasoning for the other existing in the first place, we can only guess.

“My best guess would be that this artist used generative AI in the creation process, re-recorded it in and played it, and then somehow the demo version made it onto the final video for release.”

When approached by Guitar World, D’Addario declined to comment on the fresh allegations and said it stood by its initial statement.

[Update 24.07: D'Addario has posted a response video on Instagram that it says shows the workflow of the recorded demo.

"Setting the record straight, this string demo was certainly over-produced. However, it was not created by AI. All guitars were tracked in real-life, drums and synths were MIDI programmed, plus a whole lot of plug-ins and production."]

D’Addario has denied allegations that it used AI to create music in a promo video for its new NYXL HD electric guitar strings. It has also defended deleting comments and blocking accounts on its social media channels, saying it was protecting its employees from harassment.

In a statement to Guitar World, D’Addario confirms it never uses AI when making music for its video marketing content. “Our brand is grounded in authenticity, and doing so would be against our ethos,” says the strings and accessories giant.

The video in question is a slick production featuring some high-gain progressive metal. The launch offered the NYXL HD range as single high-density strings for seven-, eight- and nine-string guitars, while the XT Dynacore HD Classical Singles offered individual strings for seven- and eight-string nylon-string guitars.

The promo clip is undeniably super polished, super processed. That was the problem. It didn’t sound quote/unquote real.

There was a pile-on in the comments section. D’Addario got involved in the comments, denying the allegations, and then began deleting the comments relating to AI and blocking some accounts.

YouTubers soon picked up on the story, with Danny Sapko running a video titled, ‘Did the world’s biggest guitar string company just get caught?!’

D’Addario stresses that the video was created by real musicians. But perhaps this controversy tells us that these über-finessed productions, electric guitar tones that have been processed so far that they take on this sheen of artifice, don’t work for audiences anymore.

In replying to Guitar World, D’Addario acknowledges that it was a mistake to present the demo with full production.

“We have an organization filled with extremely talented musicians whom we rely on to compose, produce, and demonstrate our products,” said D’Addario.

“We made a choice to demo these products in a fully produced mix, it backfired. We have learned from this and will shoot and demonstrate the products again without that fidelity of production, so consumers will be able to hear a comparison of these strings both in a mixed and raw format.”

The company says it had to turn comments off after one of its employees’ personal accounts was identified and he was “being targeted with malicious comments and messages”. That crossed the line.

“We have a responsibility to protect our employees from harassment. As always, we are open to accepting criticism as a brand,” said D’Addario. “But there is no place for harassment of our employees on their personal social media accounts. It’s so important that we all behave in a responsible and respectful way given the volatile nature of social media.”

You’ve probably asked yourself, “How often should I change my guitar strings?” After every gig? Every month? Once a year? Or should you stick with the same strings until they snap? Until they’re so riddled with corrosion that they physically can’t hold tune?

No two players will provide the same answer. But what’s the correct answer – if there even is such a thing? We reached out to some of the biggest brands in the world of acoustic and electric guitar strings to find out, including Ernie Ball, D'Addario, Rotosound, Martin and Stringjoy.

The straightforward answer

Every brand broadly agreed on the same timeline: changing your strings at least every three months seems to be the sweet spot.

“For most players using high-quality strings and taking decent care of them, changing strings every three to six months is a pretty healthy window,” says Scott Marquart, founder and president of Stringjoy.

Martin’s manufacturing manager Dave Doll agrees with the lower end of that estimate. “I’d say best practice is to change every two to three months if it’s a guitar you play fairly often.”

Meanwhile, Brian Vance, D’Addario’s VP of fretted strings and accessories, suggests more frequent changes could be useful for acoustics.

“I would suggest changing electric strings every two to three months – four times a year – and acoustic strings every one to two months – six times a year,” he says. “However, these time ranges can vary, and many factors impact string life.”

The bigger picture

Every brand we spoke to agreed that changes are sometimes required at more irregular intervals. It’s important to know the telltale signs. Rotosound and Ernie Ball try not to deal in timeframes, and instead encourage a more pragmatic approach depending on your own playing habits.

“Rather than asking, ‘how often,’ we prefer to frame the question as, ‘What are the signs that you need to?’” says Jack Dunwoody, Rotosound marketing manager.

“Look and feel for signs of corrosion as humidity and sweat tarnish the metal. Listen for an unpleasing change in tone and sustain; pay attention to tuning stability and intonation issues. When you notice one of these signs, it’s probably time to open a fresh set of strings.”

Ernie Ball’s Chris Harrington echoes, “I suggest asking what matters most to you as a player: confidence or tone? As strings age they become susceptible to breaking, loss of tone or sustain, and even intonation issues. You may need different timing for string changes, depending on the instrument.”

What to watch out for

For Martin’s Dave Doll, aging strings can also negatively impact the performance of your guitar – and, by extension, your playing.

“There are definitely people who prefer the sound of ‘dead’ strings,” he says. “But the question of when to change isn't just about tonality. As strings tarnish, their mass increases and they become less flexible, making them more difficult to play.”

Stringjoy’s Marquart agrees: “The biggest sign it’s time for a fresh set are when your strings start sounding dull, feel rough or sticky under your fingers, have visible corrosion, don't intonate properly and won’t stay in tune as well.”

Plenty of factors can speed up the need for a restring. Nearly every brand acknowledges that humidity and environmental conditions are big ones. Playing habits inevitably have an impact on string life, too.

“How often do you play? The more you play, the faster your strings can deteriorate,” explains D’Addario’s Vance. “What kind of environment do you live and play in? Areas of high humidity or close to the ocean can accelerate the corrosion process.

“What style of music do you play? Fingerstyle and strumming techniques typically put less stress on the strings, while heavy or flatpicking can break a string down faster.”

Setting up for success

Thankfully, measures can be taken to extend the life of your strings. Rotosound and Stringjoy both recommend a robust care routine. Ernie Ball emphasizes the importance of using quality strings in the first place.

“The best thing you can do to extend their life is to wipe them down with a lint-free microfiber cloth every time you play,” says Marquart. “Sweat, oils and grime are a huge part of what kills strings. We’ve seen that simple habit extend lifespan tremendously.”

Introducing coated strings into your setup can also make a huge difference, as Vance notes: “Uncoated strings are typically changed one to three months, while coated strings can last six to 12 months or longer, depending how often and hard they are played.”

How you put your strings on can make a difference, too. As Harrington notes, “Many people over-stretch their strings when they install them. Target those specific pockets of slack – the tuning posts, the nut, the bridge and the ball end twist. You'll get your strings to settle into pitch faster, and you're less likely to damage them, potentially extending their life.”

Personal touch

Ultimately, though, that three-month mark is a good safety net to have in mind. But your individual style will demand its own routine, so it’s important to find out what that is.

“Fresh strings can make a guitar feel alive again,” says Marquart. “My general advice would be to buy the best strings you can, take care of them, and let your ears and hands tell you when it’s time.”

Harrington agrees: “It really comes down to identifying what matters most to you, and letting that be your guide.”

Relic’d guitars have seen a huge rise in popularity in recent years. So, when Chibson USA joked about relic decal stickers as a budget-friendly hack, Dame Guitars took matters into its own hands.

Everyone from Charvel to Solar has jumped on the trend in recent years, as more and more players crave road worn-looking electric guitars straight off the shelf. Elsewhere, Gibson’s Murphy Lab has been making new guitars look like vintage gems in genius ways, and the Fender Custom Shop has seen a surge in relic’d requests.

And so, in true Chibson USA fashion, the meme machine made a spoof social media post about the relic decal sticker concept. A good chuckle was had by all, except by Korean-based Dame Guitars, which took it upon itself to bring the idea to life.

Under its post announcing the decals, Chibson commented, “When we came up with this idea, it was only supposed to be a joke.”

They look surprisingly effective. The stickers – which make it look like the wood beneath a guitar’s finish has been exposed – are certainly giving the S-type seen in the video a little more character.

Applied around the edges of the body, they look effective on screen, and their imperfect shapes mean that application should be a doddle; you don’t need precision.

Speaking to Guitar World about the the rising popularity of relic'g guitars last year, Fender Masterbuilders Andy Hicks and Austin MacNutt dismissed the naysayers who believe players must earn their relics, detailing that a growing number of players simply want brand-new, old-looking axes.

Originally, though, relic’ing work was a little less scientific and a little more... well, brutal. Adrian Belew famously went to savage lengths to relic his Strat in the late 1970s – making it one of the first purposefully relic’d guitars ever.

These stickers might not be for everyone, and they're sure to attract some doubters, but there's no denying they look like a harmless relicing ‘mod’ for those who don’t want to beat up their beloved guitars, or spend a few grand on a pre-worn instrument. Better still, they're completely reversible.

The decals are priced at 9,500 won, which is approximately $6.20.

Keep your eyes on Dame Gutiars for more.

The Prime Day sale is the best place for guitarists to stock up on accessories, but it's the final day of Amazon's biggest sale, so you've not got much longer to take advantage. While your feed is no doubt drowning in Prime Day guitar deals, I’ve been covering these sales for years now, so I know what’s genuinely a great deal and what looks good because the RRP has been inflated. So I’m here to help you get the best value for your money when it comes to Prime Day 2026.

There are loads of great accessory deals floating around at the moment, and many of them are so cheap that it’s an absolute no-brainer to pick them up. Whether you want playing tools like guitar slides and capos, essentials like strings, or extras like straps and guitar tools, the Prime Day sale is the place to pick them up.

Here are 11 of my favorite deals on guitar accessories you can still grab right now, all with some tasty discounts:

Shop all the Prime Day guitar deals

• Amazon: All Prime Day guitar deals
• Guitars: Save on beginner guitars
• Amps & pedals: Save big on fresh tones
• Accessories: Strings, slides, straps, and more

More retailer sales

• 🇺🇸 Best US sales
• B&H Photo: Money off pro audio
• Guitar Center: Early 4th of July sale
• Guitar Tricks: 1 month for $1
• IK Multimedia: 50% off software coupon
• Musician's Friend: Up to 60% off gear
• Native Instruments: Up to 30% software savings
• Positive Grid: Spark Summer Sale
• Plugin Boutique: 100s of plugin discounts
• Reverb: B-stock deals
• Sweetwater: Big savings on guitar gear
• Universal Audio: Paradise Guitar studio $99
• Waves: Plugins for just $34.99

• 🇬🇧 Best UK sales
• Thomann: Shop the huge Thomann Music Days sale
• Gear 4 Music: Big clearance savings
• GuitarTricks: Half-price annual plan
• Plugin Boutique: Huge software savings
• Waves: Sale on studio staples

You can never have enough guitar cables, right? That’s both an excellent piece of received wisdom, regarding preparation for future pedalboards and amp rigs, and also a prophetically-true statement about the inevitable existence of faulty leads in your current crop.

Keeping on top of your guitar cables and patch leads is never fun, but needs must – and what better time to meet those needs than “deals o’clock”? Amongst a plethora of Prime Day guitar deals, I’ve pulled out five of the best lead and patch cable kits, from Fender to MXR and beyond, and all with massive savings.

But with Prime Day ending tonight, you only have a matter of hours to save before the prices shoot back up.

More options on sale

• Cheapest cable: New Bee braided 10ft, was $8.99, now $7.64
• Best value: Amazon Basics patch cables (6-pack), was $15.74, now $12.55
• Longest cable: GLS Tweed 20ft, was $21.99, now $17.99

More places to shop

Shop all the Prime Day guitar deals at Amazon

• Amazon: All Prime Day guitar deals
• Guitars: Save on beginner guitars
• Amps & pedals: Save big on fresh tones
• Accessories: Strings, slides, straps, and more

• 🇺🇸 Best non-Amazon sales (US)
• B&H Photo: Money off pro audio
• Guitar Center: Early 4th of July sale
• Guitar Tricks: 1 month for $1
• IK Multimedia: 50% off software coupon
• Musician's Friend: Up to 60% off gear
• Native Instruments: Up to 30% software savings
• Positive Grid: Spark Summer Sale
• Plugin Boutique: 100s of plugin discounts
• Reverb: B-stock deals
• Sweetwater: Big savings on guitar gear
• Universal Audio: Paradise Guitar studio $99
• Waves: Plugins for just $34.99

• 🇬🇧 Best non-Amazon sales (UK)
• Thomann: Shop the huge Thomann Music Days sale
• Gear 4 Music: Big clearance savings
• GuitarTricks: Half-price annual plan
• Plugin Boutique: Huge software savings
• Waves: Sale on studio staples

I wouldn’t usually follow up one pickup feature with another, but the article I wrote detailing changes to the pickups in our Telecaster 75th Anniversary edition got me thinking. I’ve been privileged to play a few ’50s Telecasters, and even a Broadcaster, but it occurred to me that I’ve never had the opportunity to directly compare each type of Blackguard-era pickup.

Just to recap, T-style bridge pickups were wound with 43 AWG magnet wire before Fender changed to thicker 42 AWG wire in 1951. The next big change occurred in 1955, when Alnico V magnetic slugs replaced the weaker Alnico III. By my reckoning, that equates to three distinct versions in the early 1950s alone.

I’m just a newcomer to the pickup-making hobby, but I thought it might be educational to make one of each. My idea was to order flatwork, slugs, and baseplates from the same supplier, along with two gauges of magnet wire from a single manufacturer.

So long as I could wind all the coils consistently, with the same number of turns, and wax-pot them for an identical period of time, it should be possible to form some clear conclusions on how each change influences the overall tone.

Picking Up Parts

Pickup parts are widely available, but for this project I ordered kits from UK retailer Axesrus because it’s a one-stop place for everything you need. However, the plain enamel magnet wire actually came from Allparts UK because it’s slightly cheaper there. When ordering, keep your wits about you because it’s easy to end up with slugs and flatwork holes that don’t match.

Complicating things further, some suppliers provide measurements in millimetres while others use inches, while both decimal and fractions feature. The narrower diameter, post-1955 slugs were 0.1875-inch, which equates to 3/16-inch and 4.75mm. Axesrus doesn’t sell the early style 0.195-inch (4.953mm) slugs, but it sells 5mm slugs and that’s close enough.

Most guitar-parts suppliers stock cloth-covered hook-up wires, and you can choose which colors you prefer. Yellow and black would be traditional for vintage style T-type pickups, but if you can’t find yellow then it’s possible to stain white cloth. You’ll also need some old-fashioned white parcel-string, which can generally be found in hardware stores or post offices.

Slug Fest

I started by pressing the non-bevelled ends into the flats using my arbour press. This makes the job easy, but you could tap them in using a rubber mallet. Axesrus’s kits come with tiny eyelets for soldering and they are inserted from the underside of the bottom flat.

As long as you’ve ordered the correct flatwork for your chosen slug diameter, there should be a tight friction fit. Even so, I like to wick some water-thin superglue around the holes from the inside and then wipe off any excess if I need to.

With all the bobbins assembled, Fender would mask off the eyelets, dip the bobbins in lacquer, and let them drip dry. They probably did this to lower the chances of corroded magnet wire shorting out against the slugs, and you can wrap tape around the slugs before winding if you don’t want to bother with lacquer. I did both to play it safe and also because the lacquer gives the flatwork a distinctive vintage sheen.

Winding Up

I’m not going to go into great detail about setting up machines and winding coils because there are many online video tutorials that can show you exactly how it’s done. You can even find one with Fender’s legendary Abigail Ybarra – watch her wire-guiding hand closely.

With 42 AWG wire I find that 10,000 turns equates to a coil resistance reading of around 7.5k. That’s pretty strong for a mid-‘50s T-type bridge pickup, and the same number of turns resulted in a 9.5k coil with 43 AWG wire. Be sure to re-check your resistance reading after soldering the leadout wires and try to avoid getting hot solder resin on the coil.

Strings Attached

Fender wrapped string around T-type bridge pickup coils, which protected them and allowed molten potting wax to soak through to the wire. The company’s winders used black-tinted wax, which turned the white string black and held it in place.

To apply the string, I unravelled about 10mm at the end to flatten it out and then positioned it up the side of the coil at one end, running from top to bottom.

Pinching the flattened end against the coil, I began wrapping the string around the coil in layers going from the bottom flat to the top. Once I had applied as many turns as possible, I cut the string and tucked the end between the final turn and the underside of the top flat.

Pot Luck

I use a beauty salon-style wax heater to melt potting wax at about 60 degrees Celsius. You could also get by with a glass bowl and a bain-marie type of arrangement instead, (but don’t use your partner’s favorite kitchenware. You’ll have to trust me on this…)

More learned pickup makers than me may have special wax formulations, but I use paraffin wax mixed with lamp-black powder and some boot polish to turn it black. The amount of time pickups should spend in the wax is open to debate.

Some advocate leaving them for 10 to 15 minutes, or until air bubbles stop coming up to the surface. This pretty much guarantees that a pickup won’t squeal microphonically, but lighter potting retains some microphony for airy high harmonics and vintage chime.

Having examined numerous vintage Fender pickup coils, I’ve noticed that the potting wax only penetrated the outer layers and there’s often no wax on the inside of the coil. They were semi-potted at most, and for vintage tonal characteristics I find that three to five minutes works well. If a pickup is too microphonic, you can always re-pot it, but you can never un-pot it.

Tone Tests

With four coils wound, bound and waxed, it was finally time for testing. Rather than evaluate my own work, I invited my mate Ed Oleszko over to lend an ear and he kindly brought his 1955 tweed Super.

Using my Dearnaley Taff Delta loaded with a genuine 1954 lap steel pickup for reference, Ed tested the pickups in a US-made Fender Anniversary Esquire, and both guitars were fitted with brass saddles.

Ed says of the Alnico III with 43 AWG: “This pickup doesn’t sound overwound in a dull and midrange heavy sort of way. I’d describe the output as gutsy, rather than hot. It has mellow treble, hi-fi clarity, and excellent balance that is very forgiving and easy to play, but it’s not a quintessentially Tele-like tone. It sounds older and mellower, with loads of bass heft, although the lows do sound a bit soft, and it’s more woody than twangy.

“It has a beautiful midrange, lots of harmonics, and, with no hint of shrillness, it’s the one that works best in the Esquire’s back setting. Once your ears adjust, it makes some regular Tele pickups seem a bit shrill and uncultured in comparison. It has a lovely oboe-esque voicing, and as a Gibson player I feel very comfortable with the plummy midrange and the effortless way it sustains and blooms.”

Over to the Alnico III with 42 AWG, and Ed says: “This one has a huge sound, with a lot of low-end thump and a wide soundstage. It really sustains, but not quite as well as the 43 AWG version, and it doesn’t generate as much of that Patent Applied For-like upper-harmonic bloom. This is very much a Blackguard Telecaster sound with an aggressively confident midrange that never gets brash, and it’s the one that sounds closest to the ’54 lap steel pickup.

“It’s twangier than the 43 AWG version and the low strings have a springy bounce. The resonance peak seems higher, so it has a clucky quack, rather than the plummy voicing that makes the 43 AWG softer and woodier. It’s not as clear sounding as the 43 AWG, maybe because the midrange is congested with harmonics, but there’s a clickier front-end attack to notes, and when overdriven, the overall vibe recalls Springsteen’s Darkness On The Edge Of Town.”

Finally, to the Alnico V and Ed says: “42 AWG with Alnico V slugs appears to generate an upper midrange peak and a bass lift with a slight dip in between. This pickup is clearer and more balanced overall, and it’s like a ‘loudness button’ has been applied across the whole frequency range. Nothing jumps out, and it sounds more modern because it doesn’t have as much of the 42 AWG’s quacky and honky vocal midrange. That said, it’s not as characterful as the others.

“It does provide the best note separation and it has the tightest bass. With the volume right up it sounds punky, and when you turn it down it does that jangly faux-acoustic thing. There’s a lot of sustain, which makes playing easier because it doesn’t require as much physicality as some vintage pickups.

“It’s perhaps the most versatile of the three and I think it would work well in a lot of musical genres. The problem is that now that I’ve heard how different they all sound, I want three Telecasters, rather than just one, because they’re sufficiently different to justify it!”

Wrapping Up

As I mentioned at the beginning, I’m just getting into pickup making and repairing, and these were only the second, third, and fourth T-type pickups I’ve made so far.

If you fancy trying it for yourself, you can set up with a winding machine, a magnetizing rig and any other bits and pieces for less than £200, and the wire and parts for a T-type bridge pickup should total less than £20.

Have a go!

• This article first appeared in Guitarist. Subscribe and save.

The rigors of touring, or even going from one’s home to the practice studio, can have a huge impact on a guitar’s tuning and overall health, so D’addario has devised an interesting antidote: climate-controlled gig bags.

The firm's new Backline cases, designed for electric guitar and bass, are crafted with “superior instrument protection” in mind, and its fancy Humidipak integration steals the headlines.

Each bag in the series has a Humidipak Climate-Control neck cradle, designed to “preserve your instrument’s condition like no other gig bag.” The cradle features two-way humidity control to help keep instruments in tip-top condition in transit.

So, even if you’re packed onto a hot, sweaty bus like a sardine on your way to rehearsal, the Backline promises your prized guitar will come out of the journey unscathed.

The cradle also helps keep the guitar snug in one place, so when the bus goes over a pothole, your instrument won’t feel the brunt of it.

Other key features include a water-resistant exterior, reinforced zippers, and a plush interior with tear-resistant panels that add durability in high-wear areas. Ergonomic straps and a cushioned back panel help keep the guitar and the wearer of the bag comfy.

The front pocket is also a pretty roomy breakaway bag (18” H, 13” L, 2.5” W), meaning it can be detached from the case and neatly organized before being slotted back in place via the Auto Lock system seen on some of its guitar straps.

The bag is big enough to house an overdrive pedal, an iPad, a MIDI controller, and a handful of packs of guitar strings, plus a zippered pocket for guitar picks.

The new Backline cases are priced at $299.99/£232.50, placing them on the premium end of the scale, but it’s certainly an innovative approach to axe protection from the firm behind color-coded strings, a guitar-duster oven mitt, and a nifty pedal-prying tool.

See D’Addario for more.

If there was such a job as ‘tone archaeologist’, Stuart Robson of Sunbear Pickups would qualify. His forensic examinations of vintage pickups have led him down many an interesting path in the design and development of his own pickups.

His latest prototype, however, tells a particularly interesting story. While Gibson’s fabled Patent Applied For humbuckers of the late ’50s are endlessly discussed and copied, less light is shed on the earliest examples of the breed – the 1957 examples that, as Stuart explains, were built just a little differently from the ones that followed and had a sound all of their own – quirks that he has sought to faithfully emulate in his latest vintage-inspired humbucker. What’s the story?

“Well, they’re called the KZ 57 SB PAFs and they’re designed to mimic the winding pattern and coil structure of the coils produced by the very first machine that was used by Gibson in the ’50s. This machine was used to wind the majority of the of the 50s P-90s but also some of the earliest Patent Applied For pickups,” Stuart explains.

“The winding machine [used for 1957 Patent Applied For humbuckers] was made by Geo-Stevens – in fact, it was the earliest winding machine produced by that maker. Geo-Stevens carried on making winders that were quite similar looking for many years after.

“But the original one is a little bit janky – it’s early and it’s quite rattly and it’s got a specific lobeless cam set up on it. And, basically, that means the way that it lays wire backwards and forwards on the bobbin is quite specific in terms of the turns per layer and will fill the bobbin more for the same number of turns of wire that the later Leesona machine would do. So that just gives a specific character to the pickup.”

So what did that all mean for the sound of the earliest Patent Applied For humbuckers?

“They tend to be slightly airier,” Stuart argues. “They have more detail in the low-end, not necessarily more tightness but more transients, more harmonic content in the low-end than the coils off of the Leesonas tend to. And they just tend to be a little bit sweeter. So they’re more like a humbucking P-90 in character than the later Patent Applied For pickups tend to be,” he explains.

It’s A Wind-Up

While the output of Patent Applied For humbuckers wandered about between 1957 and 1962 when they transitioned into being ‘Patent Number’ humbuckers, Stuart adds that the first ones wound on the Geo-Stevens machines were restricted to a maximum ceiling in output more than later examples.

“People try to make generalisations, like, ‘Oh, I think the ones from ’59 are a bit hotter. But, honestly, you get ones in ’59 that are anything from the lowest to the highest outputs [that are considered typical]. What [the use of] that very early Geo-Stevens machine did mean, though, was that you really couldn’t get a hot Patent Applied For off of it.

“If you think about the spec of 10,000 turns on a P-90 being split to around 5,000 turns per coil on a Patent Applied For pickup, you would not get more than that onto the bobbin from the KZ 115 Geo-Stevens winder because the coils were effectively fluffier, looser and more naturally scattered by the way that the machine delivered the wire to the to the bobbin [compared with coils made on later Leesona winders] – so you you wouldn’t get one that was over 8.2k, generally speaking.

“And that’s part of their character as well – the fact that the coil is, frankly, a lot less tidy than the later coils are. So you won’t get a hot Patent Applied For humbucker out of it, but you will get up to the idealised 8k-ish range.”

It’s certainly an interesting little nook of Gibson pickup history – but what inspired Stuart to want to make his own take on the early ’57 style of Patent Applied For?

“I find them really interesting to make because it’s a very specific coil type that no-one really talks about,” he reflects.

“There’s lots of direction towards the Leesona-style coils [among modern makers of vintage-style humbuckers]. But people generally don’t talk about the actual coil build because to know about that, you either need to have the original machines – good luck! – or you need to be taking apart the original coils and lucky enough to be doing repair work on the originals.”

Fortunately, his own work in pickup design and repair has granted him the necessary insights, but he cautions against taking ‘handmade’ to mean better when it comes to vintage-correct Patent Applied For-style pickups.

“‘Scatter-wound’ is obviously a thing that people talk about in pickups – too much,” Stuart observes. “But all Patent Applied For humbuckers were machine-wound. So, the idea of a hand-wound Patent Applied For, which you see in the market all the time… if we’re being brutally honest, it’s not a thing. Because you can’t hand-wind a Patent Applied For with the kind of consistency that makes it sound like [a vintage original].”

Three to get ready

Sunbear Pickups KZ 57 SB PAFs

Hot off the winder at Sunbear Pickups is the subject of this article – a faithful recreation of 1957-spec Patent Applied For pickups. The prototype set of KZ 57 SB PAFs we examined here has an Alnico V bridge giving an output of 8.1k and an Alnico II neck pickup with a DC resistance of 7.3k, making this a touch-sensitive and classic set to savour.

Bare Knuckle Mule humbuckers

A well-liked take on the classic Patent Applied For sound by the thriving Cornish maker, the Mule is wound using “butyrate bobbins, maple spacers, nickel-plated slugs and Fillister no.5 pole screws... and Sand cast Alnico IV magnets”.

Output is similarly classic at 8.4k for the bridge and 7.3k for the neck. Output is similarly classic at 8.4k for the bridge and 7.3k for the neck. An old favourite for many players of maple-top single-cuts.

Dimarzio PAF 57

Wound on Alnico II magnets, DiMarzio says its PAF 57 pickups “paint an auditory masterpiece – creamy tones, flawless hum cancellation and a crystalline top-end”.

Available in a range of finishes (black, relic white or cream butyrate bobbins, or nickel covers), this major maker rarely disappoints, offering another window on early Patent Applied For tone to consider.

• Find out more at Sunbear Pickups.
• This article first appeared in Guitarist. Subscribe and save.

The Ibanez Tube Screamer is one of the most iconic pedals of all time. Now it's a stompbox you can set your watch to.

In a move that was unlikely to be on anyone’s bingo card, Ibanez has teamed up with Japanese watch brand Citizen for the Tsuno Chrono Custom Tube Screamer, which takes its cues from the green machine beloved by Stevie Ray Vaughan, John Mayer, and a gazillion other guitar players around the world.

Its green dial is an obvious reference, while its face is inspired by the TS808HWV2, a darker-colored re-imagining of the pedal. The $300 hand-wired version of the TS808 arrived in 2024, bringing new components to the flagship amp driver.

Its three auxiliary dials, meanwhile, nod to the pedal's famously simple controls. They're even labeled Drive, Tone and Volume for good measure.

“The green coloring is inspired by the finish of the latest flagship model, the TS808HWV2, and is a high-quality tone that blends seamlessly with any outfit or occasion,” Ibanez details.

“This playful design links the exhilaration of shaping guitar sounds to the everyday act of checking the time,” it adds. Who knew that's a combination we needed?

Only 500 units are being made, and it's exclusive to Japan, which, like some of its electric guitars – see the gorgeous, denim-clad HZK1 – is painfully unavailable to the wider world.

There has been a lot of moving and shaking at Ibanez this year, with Imnainla Jamir joining as its first-ever female Indian endorsee, while one of its most outrageous models yet has shown its designs can still surprise.

It's a collaboration not too dissimilar to Fender's 2024 tie-in with Bvlgari, which saw a watch and a very pretty Stratocaster drop as part of a limited-edition release. Fender has also expanded its lifestyle offerings with sunglasses and speakers through Fender Audio.

The Ibanez x Citizen Tsuno Chrono Custom Tube Screamer is available now for ￥44,000 (approx $277).

See Ibanez for more details.

Adam Hall Cables has just dropped the Flipjack, a simple but brilliant guitar cable that could be the solution to all your mid-gig guitar swapping woes.

Some guitars are naturally inclined to take a certain kind of cable. Strats, for example, tend to favor straight jack cables, while Les Pauls much prefer angled jacks because of the position of their output.

For those who gig with multiple guitars – changing for tonal, tuning, or aesthetic reasons throughout their set – this small design quirk can be a nuisance.

Cue Adam Hall to serve up an innovative, ‘Why hasn’t anyone thought of this before?’ solution with the Flipjack. As its name suggests, the Flipjack is a cable that can flip between straight and angled positions quickly and seamlessly, thanks to a handy hinge.

“The idea behind it is as simple as it is practical,” Adam Hall explains. “Instead of having to swap the right cable when changing instruments, the jack plug adapts to the instrument. This saves time, reduces stress during live performances, minimizes strain on the cable and socket, and ensures hassle-free handling on stage.”

The adjustable TS jack plug has been designed and engineered in Germany, and is fully patented, featuring a PVC (Polyvinyl chloride) cable jacket and gold-plated contacts.

Each cable also offers an extra-large inner conductor (0.50 mm² / AWG 20) for maximum conductivity, and a tinned copper-braided shield, which helps protect against interference. The Flipjack is available in 1.5m, 3m, 4.5m, 6m, and 9m lengths.

“As an active live musician and guitarist myself, Flipjack is something I’ve always needed – but has never existed, until now,” adds Oliver Bick, Team Lead Product Management at Adam Hall.

“For me, on stage, moving between a Strat and a Les Paul was always a huge pain, and I’ve even broken guitar inputs trying to put a straight peg in an angled hole, so to speak. Flipjack solves this problem in one simple, reliable, innovative flick of the wrist.”

Guitar cables are becoming something of a hot spot for engineering innovations. Last year, Ibanez and JTC claimed that their collaborative cable design was “the next step in cable technology”.

The Adam Hall Flipjack is available now.

See Adam Hall for more.

Renowned bluesman, guitar expert and all-round gear guru Joe Bonamassa has taken Guitar World down a deep-dive into the differences between P-90s and humbuckers – discussing what makes the former sing and how best to set them up.

P-90s were big players for the best part of a decade before humbuckers came along and became the most common choice, especially in Gibsons. But what’s the difference between the two?

On the sliding scale of pickup tones, P-90s are said to be dead center. Generally speaking, while single-coils have snap and bite, humbuckers offer more warmth and size. P-90s sit right between them.

But how does that translate in application? Well, in a new Guitar World video, Bonamassa delivers the answer.

He’s armed himself with two Gibson Les Pauls that are as close in makeup as possible, save for their pickups. There’s a ‘58 Goldtop Standard with PAF-style humbuckers, and a ‘56 with P-90s.

“The difference with P-90s is they're a little bit more sparkly when you roll the volume down,” he explains. “They’re more like single-coils, but they’re pretty woolly when you roll the volume up.” It covers all bases.

Speaking with Gibson last year, Joe Bonamassa claimed that “most people who are real dyed-in-the-wool Gibson people will say behind closed doors when the internet isn’t watching that their favorite pickup is a P-90.”

“They're cleaner,” he believes. “There's a sparkle on top that a humbucking pickup doesn't get.”

And that’s why his Copper Iridescent Epiphone model is, like Warren Haynes' new signature, loaded with them over usual humbuckers.

But the pickup height makes a big difference, too. There are two schools of thought when it comes to pickup heights: keep them close to the strings for maximum output, or move them further away and push the amp.

Bonamassa falls in the former category when it comes to humbuckers, but P-90s require a change of tact.

“[With P-90s], I try to get the front pickup as low as I possibly can, and the back pickup as high as possible,” he states. “It creates more of a balance. Sometimes you've gotta use popsicle sticks and put it on some low-budget, de facto scaffolding to get it to work.”

P-90s are having a bit of a moment. Haynes had them fitted into his recent signature Gibson after discovering the benefits they offer. Former Ozzy Osbourne shredder, Jake E. Lee, has also been talking about the lesser-loved pickups.

“Humbuckers are great, but, to me, the P-90s were always the best of both worlds,” he tells Guitar World. “They have that articulation, attack, and aggressiveness that single coils have, but they’re also kind of smooth and beefy-sounding, like humbuckers.

The only reason he didn't play them during his Ozzy days was “because they didn’t make humbucking P-90s, so you’d have to deal with all that noise that comes with them, and at the volume I played at, it just was untenable.”

Haynes has also explained why he’s defected from ‘buckers, as P-90s find themselves in vogue once more.

It’s that time of the year when the Amazon Big Spring Sale rolls around, and as with most Amazon sales, there isn’t all that much to shout about when it comes to guitar, pedals, or amps. If you feel like spring cleaning your guitar collection or stocking up on essential accessories, however, there are loads of great deals to get your hands on.

There’s no word on when the sale ends, and some items are limited to discounts until they sell through a certain amount, so it makes sense to strike while the iron is hot. Of course, there’s the usual consumer tech discounts on things like headphones, laptops, smart devices, so if you're in the market for something for you home it's well worth a browse of the wider sale.

To save you time sifting through the mostly cheap import gear on offer for guitarists, I’ve picked out 7 low-cost accessories starting from just $6.49.

Shop more sales

• Save up to 35% on live sound at Sweetwater
• Over 25,000 deals at Musician’s Friend
• Save 15% on Spark Neo at Positive Grid

Fender’s recent 75th Anniversary Telecaster launch bonanza spanned five new models across five product ranges – so you’d be forgiven for glossing over the spec. Anniversary guitars are typically new finishes, commemorative neck plates, shiny headstock decals… You know the drill. But one of these models plays host to one of the most significant developments for Fender Telecasters in decades.

The 75th Anniversary American Ultra II Telecaster has stealthily introduced Fender’s first-ever in-house rail humbucker, the Fastlane – ie, a single coil-sized humbucker that doesn’t change the look of the instrument.

“We’ve been experimenting with our own single-spaced humbucker design for quite some time,” says Allen Abbassi, Director of Product for Fender Electric Guitars.

“Over the last year and a half, we’ve been intensifying our efforts and finally hit upon a recipe that we loved. Serendipitously, this coincided with the development of our 75th Anniversary Telecaster collection and we thought it was the perfect opportunity.”

Named after their distinctive magnetic bars, high-output rail (or blade) pickups have been around for decades, and aim to deliver a more consistent string-to-string response compared with individual pole pieces.

Classics such as the DiMarzio Chopper and Seymour Duncan Hot Rails – as featured in Fender’s own Soul Power Stratocaster for Tom Morello – are ubiquitous in the modding scene. But as Abbassi tells it, Fender didn’t look to other manufacturers when it voiced its own design.

“We wanted to design a single-spaced humbucker that sounded great both clean and dirty, had fantastic note-to-note string clarity and was punchy enough to sound and feel like a great humbucker. We think we hit it out of the park.”

On the Ultra II Telecaster, the Fastlane is paired with a noiseless single coil and S-1 switching: a push button on the Volume control runs both pickups in series, while hitting the switch in the Tone control flips the Fastlane from series to parallel for “a bit of single coil flavor with more top-end and tighter lows” that still bucks the hum.

Life in the Fastlane

But if rail pickups have been around for an age, why does any of this matter? Because of what it means for the shape of Telecasters to come – and not just $2k+ anniversary models.

“This is just the beginning,” says Abbassi. “There will be lots more new Fastlane pickup designs in the future.”

Telecasters are the great equalizers. They find their way into every genre, and a humbucker in the bridge, paired with a single in the neck, all while keeping the classic aesthetic… Well, that would be a mighty versatile stock guitar – and perhaps the closest thing we get to a reissue of the Jonny Greenwood-favored HS model, the Telecaster Plus.

An off-the-shelf Fastlane configuration that spans multiple price points could push heavier crowds yet further towards the Telecaster – and be welcome news for Strat fans who don’t like a full-fat humbucker crowding up their scratchplate.

None of this is reinventing the wheel. But for a company steadfastly rooted in tradition, it’s a notable shift, particularly as Fender Japan innovator Edward ‘Bud’ Cole has taken the reins at the top of the company on a global level.

The Fastlane’s release also coincides with another significant Fender development – its own take on the B-Bender, debuted via John Osborne’s signature Telecaster. And there are more innovations coming down the pike very soon, says Abbassi.

“Nothing is off the table for future development as we are constantly looking for ways to innovate, create better tone and enhance playability – just like Leo – from bridges, to pickups, to electronics and more. We’ve got a bunch of new innovations cooking and several of them will launch this year…”

• For more information on the 75th Anniversary American Ultra II Telecaster, head to Fender.com.

A guitarist has created a wild 64-polyphonic pickup system for his master's thesis in electrical engineering, and if it were up to us, we’d give him top marks.

Traditionally, as is likely not news to anyone reading this, electric guitars have been built with one, two, or three pickups, with the Les Paul Junior, Telecaster, and Stratocaster (as well as Peter Frampton's triple-humbuckered Phenix and the occasional Black Beauty Les Paul) all being examples of that tradition.

But David Wieland of Dark Art Guitars is living up to his business's name with this eye-opening new approach to guitar pickup designs in a bid to ace his studies at ETH Zürich.

The PolyMap, a polyphonic guitar pickup system, “can record 64 individual pickups simultaneously,” and unlike the eight-coil D.U.M.Bucker, it isn’t a silly gimmick, and it doesn’t require protective headgear to play it.

“The basic idea was to build a guitar that doesn't record the finished mixed output signal, but instead a lot of information about each one of the strings,” he says. “This is a very fancy way of saying that instead of two or three pickups, we have a few dozen that are only picking up one string each.”

Wieland landed on the number 64 by dedicating eight individual pickups to each string on his Dark Arts Alchemist headless guitar, with the eight-string featuring a 26.5” scale length. The extended range aids low-end clarity, without making the neck uncomfortably wide.

It also has a swamp ash body with a maple burl top, for those curious, and a “giant hole” was made to house this ungodly amount of pickups. The pickup capsules themselves are from Cycfi Research and are mounted onto a control board. This takes the individual analog signals, buffers them, and sends them to 64 analog-to-digital converters.

“Because we want to record all 64 pickups simultaneously without mixing them, the only real choice was to digitize the inside of the guitar,” he expands. “This means that we essentially built a 64-channel audio interface integrated into the guitar that then sends out one single digital signal.

“Inside the computer, we can take those 64 audio channels and get them into a DAW, and in order to do anything useful with them, we wrote a VST plugin that allows you to mix all of these signals together, apply various effects, and then get a stereo output that you can listen to on just regular headphones.”

This approach means the raw data from the guitar is recorded, rather than a pre-mixed output, so that in post-production, full autonomy is granted over which pickups are heard and which have effects applied.

So Wieland could, in theory, opt for a middle pickup-position-like setup where all pickups are active, but only add a chorus pedal to the bridge pickups and leave the neck positions raw, or bestow them with a different effect. Furthermore, there are pan and phasing options, as well as all kinds of otherwise-impossible-to-get pickup combinations.

It also means that, if he wanted to change a part to be played exclusively on a specific part of the pickup system, there’s no need to re-record. “This makes it a really powerful recording tool,” Wieland adds. No kidding.

Granted, the custom-made plugin is a little overwhelming at first glance, but it has a raft of editing features, including all pickups featuring volume and pan options, as well as output options to contend with these pickups having a much flatter and wide frequency response compared to traditional designs.

This is another novel tweak to the guitar’s tried-and-tested formula, and it will be interesting to see how the guitar community responds to it. Indeed, feel free to let us know in the poll above...

There are some teething issues Wieland is still looking to fix, but as a feat of engineering, one can only stand and marvel at them. Either way, we want a go...

For information, head to Dark Arts Guitars.

Amazon has launched its Spring Deal Days sale in the UK, and this year I was very surprised to see that there are quite a few good bits of guitar gear available. Typically, Amazon is the home of cheap, lesser-known brand offerings when it comes to guitars, but I've already spotted deals on Boss, Squier, Ibanez, Laney, and more.

Accessories have always been the bread and butter of Amazon's sales offerings when it comes to music gear, and that's no different this year. It's the perfect time to spring clean your guitar collection with some big discounts on multi-packs of strings, a nice discount off a super handy Ibanez multi-tool, and plenty of handy accessories that will serve you well as we move into gigging and festival season.

I've had a look through the whole sale this morning to find where the very best deals are, picking out 10 top deals that are perfect for guitar players.

Metallica is helping EMG celebrate its 50th anniversary by dropping new special edition finish options for each of their signature pickup sets.

The thrash metal giants have been powered by the firm's high-output passive and active pickups since basically day one. Their relationship predates their 1983 debut album, Kill ‘Em All, with Kirk Hammett first loading three of its single-coils into his purple Fernandes.

Hetfield was quick to follow suit, and EMG founder Rob Turner has recently said that making Hetfield's signature pickups was his most challenging and exhausting build.

And so here, Hetfield's signature JH ‘Het’ humbuckers get a special Sandblasted finish, while Hammett's KH-BB set gets a purple Spectrum colorway, and bass player Robert Trujillo's RT ‘Rip Tide’ pickups get a gilded redressing.

The limited edition sets – which, under the hood, are the same pickups that have been fuelling Metallica’s riffwork over the past few decades – are available during 2026 only.

Hetfield's set, which went through a tireless prototyping process, is unique in its use of ceramic poles, which are taller and thinner than usual. Hammett's Bone Breakers, by comparison, utilize Alnico 5 magnets, while Trujillo's take on the EMG J bass pickups are now “truly metal” thanks to their fresh new look.

“The thing I love about EMGs is that they're so consistent,” Hetfield says. “I can put EMGs in every guitar, and it's gonna sound exactly like I need it to.”

In other Metallica news, the band has just announced a residency at the Las Vegas Sphere, and their existing gig rig means they won’t need to go to the lengths John Mayer did to work around the venue’s sound restrictions.

3rd Power has introduced the MagFRAG pickup system – a potentially game-changing new evolution that gives players unprecedented control over their gain staging.

The tube amp specialist, which has previously built amps for the likes of Joe Satriani, unveiled the latest edition of its proprietary system at NAMM last month. First launched back in 2017, the updated MagFRAG humbuckers and single-coils look to push the boundaries of modern pickup engineering and design.

It is true we are living in a golden age of guitar pickups. Over the past 10 years there has been a huge leap forward in pickup tech, which all started when Fishman launched its flagship Fluence Modern humbuckers back in 2014.

At the time, Guitar World hailed the Fluence system as “the first truly new electric guitar pickup system design in more than 80 years”. MagFRAG – an accessible passive pickup design – is aiming to be equally influential in the passive pickup sphere.

In essence, MagFRAG pickups use a multi-magnet platform design to give players intentional control over how and where gain is created. That means they utilize a string-specific magnet voicing – for example, alnico II, V and beyond – to improve “clarity, balance and dynamic response”, unlike conventional pickups, which use a single magnet bar at their core.

As 3rd Power puts it, MagFRAG isn’t about “chasing vintage replication”. It’s about pushing the boundary. It’s a new approach to the “modern tone ecosystem”, homing in on a player’s touch while preserving musical feel “across a wide range of gain structures”.

MagFRAG was originally designed as a high-resolution interface between a guitar and amp, but later became a pickup system that has since been rolled out through two distinct families: PraXIS and Drive.

The PraXIS Series is about transparency and dynamics. PraXIS Reveal, made from a low-mass coil architecture, prioritizes touch sensitivity and clarity over output, meaning gain can be shaped at the pedalboard or amp stages. It also means every nuance of the player’s hands and instrument remains intact.

Elsewhere, PraXIS Reference offers a more full-range voice said to be more suitable for “modern electric guitar”, while Reference+ offers increased output and ‘push’.

There’s also the MagFRAG Drive Series, made up of Drive and Drive Studio pickups. The first is voiced to engage the front end of an amp with responsive saturation and bumped mids without excessive compression, while the latter offers an unpotted configuration for more controlled microphonics, enhanced “harmonic bloom” and “studio-grade responsiveness”.

A pickup system that lets you intentionally and deliberately choose where your gain staging comes from sounds like a neat idea, and the multi-magnet design seemingly offers a fresh take on conventional passive pickup design.

In the provided diagrams, for example, there are three distinct types of magnet used in one pickup, which will no doubt have an interesting effect on overall tone and behaviour.

These are a new development and a significant departure from conventional passive pickup design.

“MagFRAG is about intent,” said Dylana Nova Scott, Founder and Chief Designer of 3rd Power Amplification. “Where you choose to shape gain should be a musical decision. The MagFRAG Pickup System gives players clear, purpose-built tools to decide whether that happens at the guitar, the pedalboard, or the amplifier.”

Like any new development, though, it will be interesting to see just how revolutionary the MagFRAGs can be when it rolls out. For example, how effective the MagFRAGs are at differentiating gain stages in practice – ie, whether the gain comes from a pedalboard or amplifier – remains to be seen.

No doubt we’ll see plenty of demo videos in the near future, though, so keep your eyes peeled on 3rd Power for future updates.

Fresh from launching his long-awaited signature PRS, DragonForce speed wizard Herman Li has returned with all-new Fishman Fluence pickups – and the Omniforce humbucker set is said to capture the full scope of Li’s musical evolution.

Ostensibly, these are the same pickups that feature in his eye-catching signature guitar, which comprises two humbuckers with a single-coil nestling between them. That configuration delivered 13 different tone voicings to Li’s fingertips, but the aftermarket release has, in a surprising move, done away with the single-coil pickup.

Consequently, the full suite remains exclusive to the PRS Chleo, with the Fluence Herman Li Omniforce twin ‘buckers instead offering three voices per pickup for a slightly more streamlined – but still generous – offering.

Li’s predilection for an aggressive, cutting neck pickup tone has been catered to, and the new Omniforce is said to be “sharp enough to unleash explosive pinch harmonics on demand.” Here, Voice 1 is about smooth, articulate lead tones with crisp warmth. Voice 2 is a passive-style with tighter frequency and more organic feel, and Voice 3 is a lively single-coil, inspired by vintage guitars from Li's collection.

The mission statement for the bridge ‘bucker was to be three things: powerful, precise, and capable of cutting through mixes with ease. So, expect a high-output humbucker character with three voices charting open-sounding passive-style tones, focused mid-range with “razor-sharp” articulation, and another helping of vintage-voiced single-coil magic.

The pickups are active, boasting 200 hours of playtime before they need recharging.

“Herman is fearless when it comes to innovation,” says Fishman Fluence Brand Manager, Ken Susi. “The Omniforce Signature Series reflects his entire tonal journey while showcasing what’s possible when cutting-edge Fluence technology meets world-class artistry.”

The sets are available in Black Plastic and Black Nickel finishes, meaning the Gold finish of the Chleo is another PRS exclusive. Individual pickups are not currently available.

The Fishman Fluence Herman Li Omniforce Signature Series pickups are available now.

Elsewhere, the SE version of Li’s signature PRS raised eyebrows over its price, and the guitarist recently reflected on how a video game turned DragonForce into a household name.

D’Addario has released a new product that promises to “shine your gear in seconds.” The oven-glove-coded Micro-Fiber Polishing Mitt might look a bit novel, but it provides a new (and creative) way to eliminate dust and dirt from our beloved instruments.

It’s designed to clean your guitars without needing added chemicals. Unlike regular cloths, D’Addario says this won’t leave any grubby marks behind, either.

If, like me, you own many guitars, have long hair and own two cats, you’ll know how quickly dust and grime can gather on your favorite guitars, so this looks like a welcome idea.

It fits, er, like a glove, allowing players to reach those tricky spots by sliding beneath the strings, around the pickups, and on the headstock and tuning pegs.

The mitt is made with ultrafine microscopic fibers to combat dust, dirt, oils, and smudges, for guitars of all shapes, sizes, and orientations. And when the mitt itself needs a scrub, soap and water are all it takes to restore it to its former glory.

It’s priced at a pretty wallet-friendly $7.99, a price that’s set to leave dust quaking. There’s no word that it can actually be used as an oven glove (we imagine not), so it’s best keep this in your studio rather than the kitchen.

The mitt’s release continues something of an accessory hot streak from D’Addario, which has so far released 360-degree pick storage solutions, a back-saving strap designed specifically for heavy guitars, and a tiny tool for prizing pedals from their ‘boards.

Meanwhile, the firm says it has been weathering the storm of Trump's tariffs and has given Guitar World a rare insight into its rigorous string testing process.

The D’Addario Micro-Fiber Polishing Mitt is out now.

Head over to D’Addario for more information.

NAMM 2026: Seymour Duncan is taking a leaf out of Fishman’s book with its brand-new MortalCoil humbuckers, which pack three distinctive voices for catch-all tonality.

Sounding like a Tekken character, the MortalCoil Multiple-Voiced Active Humbuckers are loaded with three precision-engineered voices, inspired in part by its heritage pickups.

There’s the fast, controlled attack of its modern metal-minded MC1s in voice one, authentic JB tones in voice two – the pickup it made with Jeff Beck, but one that's taken on a life of its own since – and a clear, articulate single coil to round out the lot.

Beneath the hood, there’s some wiring wizardry going on, too. They’re precision-wound high-density copper coils with optimized resistance, which, in simple terms, means that they offer a faster response and stronger pick attack “than competing designs” – and it's a perk that it says will benefit users of all tunings.

Moreover, the humbuckers also boast new preamps, imbuing them with a more dynamic feel, even when the distortion is dialed back to its minimum. Their efficient circuitry, meanwhile, helps prolong battery life. Pair it with Ernie Ball’s rechargeable 9Vs – what a revelation! – and you could be on to a real winner.

In recent years, Fishman Fluence pickups, bolstered by their multi-voice system, have been appearing in guitars of all shapes and sizes, with widespread backing, including endorsements from Polyphia’s Tim Henson and Scott LePage, as well as Mick Thomson, and a continued presence in Strandberg guitars.

It seems, then, that Seymour Duncan, a company with a rich heritage, is looking to bite back with this three-in-one active pickup. By packing the “surgical precision” of the MC1, the genre-crossing JB, and a single coil sound made with modern rigs in mind – which is especially useful for guitars without a pre-wired split coil – the MortalCoil could prove a worthy adversary.

“Experience what happens when 50 years of pickup expertise meets modern active technology,” says Seymour Duncan. “MortalCoil installs easily as a drop-in upgrade for many existing active setups and includes all required pots and wiring.”

Some eagle-eyed folk have noticed that the MortalCoils play a big role in ESP's latest lineup, including the TH-1000 Evertune. Now they're available as aftermarket parts, ready to add more heat and versatility to six- and seven-string guitars.

The Seymour Duncan MortalCoil Multi-Voiced Active Pickups are available for $169.00 per pickup, or $279.00 for a set.

See Seymour Duncan for more.

It’s been a busy few months for the pickup brand, having released Slash’s Back to the Beginning pickups, which were custom-wound for his SG, earlier this month.

Without guitar strings, we guitarists wouldn’t be much. But what to do with our old strings has long been a dilemma for many. Fortunately, there may be an answer, besides throwing them in the garbage: the Fret12 String Thing.

The Chicago-based firm, headed up by Mark Tremonti’s brother, has unveiled a unique approach to reusing old strings to save them from landfill. In essence, the String Thing turns old strings into a figurine that looks like something Scooby Doo and co. would chase around a haunted mansion. That’s right, it’s “the world’s only guitar string upcycling mummy.”

This body-shaped piece of gear is a blank canvas, ready to have strings of all sizes wrapped around it. Like a slice of Swiss cheese, it's full of holes to make weaving the strings in and around a whole lot easier.

The little fella, made of black plastic, can have acoustic, electric, and bass guitar strings up to .90 gauge threaded through the perforations. Thicker strings they can be woven in and around the thinner strings.

The figure stands at 8.75" tall and 4.75" wide, and is designed to stop the 1,500,000 lbs of used guitar strings that get dumped into landfills each year.

Previously, D’Addario and Guitar Center teamed up to encourage guitar string recycling and more sustainable behaviors from guitar players, with D'Addario's string recycling program helping recycle over 13 million strings to date. But Fret12’s fresh take on it is certainly unique – and more creative.

The String Thing is available now and is priced at $44.

See Fret12 for more.

NAMM 2026: When Slash opted to wield a Gibson SG at Ozzy Osbourne's farewell show, he turned to pickup guru Maricela “MJ” Juarez for a purpose-built set of Seymour Duncan humbuckers that would be up for the job. Now, they’re available worldwide as the Slash 3.0 Signature Humbuckers.

As the name attests, the Seymour Duncan Slash 3.0 pickup set, comprising two Alnico V pups, is the third iteration of signature pickups for the top-hatted guitar hero. It's the first time, however, that he's stepped away from Alnico 2 magnets

This generation, built specifically for Slash’s SG, follows its older siblings in packing a little more heat than PAF-style pickups without being particularly high-gain, instead prioritizing clarity over power.

That being said, the 3.0s adds greater “punch and aggression” to his signature recipe, with rough-cast Alnico V magnets and a vintage-inspired construction coalescing for “players seeking extra cut without compromise.”

Those tweaks, ultimately, lead to an enhanced output with a tighter low-end. And though they were originally installed in his SG, they’ve become far more widespread across Slash’s electric guitar collection.

“The SG that I had at the Ozzy gig [Back to the Beginning] needed a louder pickup, but I still wanted that true-to-life guitar sound that I like in my guitars. That's where the idea for the 3.0 came from,” explains Slash.

“There's a little more oomph to it, but you still have the cleanliness and honesty of the guitar. It's raunchier than the 2.0; it gives me the extra boost I need in certain guitars.”

The Seymour Duncan Slash 3.0 pickup set is hand-built in Santa Barbara, California. The set starts at $258, with individual pickups priced at $129. There are a handful of color options, including Black, Nickel, Gold, and Zebra.

Visit Seymour Duncan for the full lowdown.

In related news, Seymour Duncan recently made its celebrated JB ‘buckers available for Telecasters and recreated Tommy Bolin’s legendary Les Paul pickups, with the help of Joe Bonamassa.

What is it?

Do you remember when amp pedals were a kind of niche concern? With the leaps made by amp modeling and players' embrace of the concept, things changed massively a few years ago. Even if guitarists weren't willing to replace their backline just yet, they were seeing the advantages of having an amp pedal for certain applications – and their neighbours were probably relieved too.

It means we now have a booming market for compact amp pedals – some fully digital, others even featuring tube technology. But things have moved so fast that there have been a few oversights that have now left gaps in the market and our signal chains. Strymon has noticed too.

The company was one of the big names that entered the amp pedal market in 2019, its Iridium boasted three different amp and IR cab choices with a headphone-out. Foo Fighter Chris Shiftlett was among the many players wowed by its charms. Other pedal amps followed from the likes of Walrus and Universal Audio. Some had headphone-outs and onboard effects loops, some did not. This presented a problem.

Players who wanted to place their delay and reverb after their amp pedal on the pedalboard could do so – it's just a matter of moving it in the chain but if they wanted to use that 'board at home with headphones plugging into the amp pedal, they'd lose the reverb and delay from their sound.

With effects loops rare on the smaller amp pedal units, there was no workaround. But some amp pedals don't even have headphone outs to start with (UA, we're looking at you). Clearly there was a gap in the market for something. It couldn't really just be a headphone amp because that wouldn't justify its place on the 'board when it came to gigging and recording. It had to be more than that – enter the PCH.

Specs

• Price: $279 | £259.99 | €299
• Type: Active direct Interface with headphone amplifier
• Origin: USA
• Connectivity and controls: Left and right XLR out, left and right 1/4-inch in, left and right 1/4-inch thru, ground left switch, mic and line level switch for XLR, switch for Sum Thru / Stereo mode.
• Features: Stereo and dual mono, internally converts to 24V for high headroom, defeatable ground lift for XLR outputs, defeatable sum for thru outputs
• Contact: Strymon

Build, usability and performance

The PCH is an active direct interface with a built-in headphone amp – and as far as I'm aware that's a unique combination on the market. It also won't fit under most pedalboards, so if you are committed to adding it to your rig, it will need to occupy a place usually reserved for an effect, or sit separately off the 'board. The latter isn't really a neat solution, especially as the PCH needs to be powered by an isolated output with a 500mA minimum current draw – I.E, your pedalboard power supply.

My experience with Strymon has been a company that doesn't release its products until they're ready, and when they're ready, they're road-ready. There's definitely a peace of mind in buying Strymon's premium products in build and operation. The PCH is no exception, though as a DI box it can't really match the company's pedals for stylish aesthetics.

If it's far from the most exciting looking pedalboard addition Strymon has put out, the PCH makes up for it to some degree with chassis strength; a 3mm thick extruded aluminium external shell framed with 5mm ribs. Yep, it's sturdy, alright. But with (L x W x H) 124mm (L) x (W) 76mm x (H) 50mm dimensions and the XLR line ports on the side with thru 1/4 inch jacks on the top, the end of your pedalboard really does make the most sense for the PCH in practical use. However, it's designed so it can be placed physically before your time-based effects if required. The challenge here will be making space for the XLR outputs if needed.

As Strymon points out, a pedalboard being connected to a DI presents a different set of challenges to a guitar going direct. Anyone who has used a chain of pedals will know; it gets loud. Drives and compressors can raise the noise floor further and with that, unwanted hum.

The PCH has an internal converter from 9VDC to 24V to make it "virtually unclippable" – good news when it comes to amp pedals being thrown into the mix, and for the PCH's unique feature; an onboard headphone amp. Clean headroom ahoy.

When it comes to dealing with unwanted noise, a defeatable ground lift can be switched on for the XLR outputs. Something that came in useful when I took the PCH into a band rehearsal with in-ear monitors, running the XLR out to a Zoom LiveTrak L-20R.

The option to run stereo or dual mono out will be much appreciated for some players; the Sum switch effevively allows stereo rig players to send their sound to the front of house, while having both channels via a dual mono monitor signal through a cab onstage if they wish. But with quality choice around for DIs elsewhere, the big sell here is the integrated headphone amp.

Testing with my Yamaha studio monitor headphones and a Universal Audio Dream '65 (a pedal that does not offer a headphone-out of its own) I found Strymon's claims of the PCH being virtually unclippable held true. Even with stacking two overdrives in front of it, the PCH's headphone amp proved unflappable. I really did get a sense of what my pedalboard actually sounded like.

Verdict

Verdict: ★★★★☆

The quality of Strymon's build is as undeniable as usual here, but I do feel that it's a shame the PCH won't clear the underside of most players' boards, forcing them to clear a space that might have been occupied for a pedal. In that respect the sense of flexibility is hamstrung to an extent, but if you're an amp pedal owner in need of headphone monitoring offstage, as well as more routing options onstage, that space will be justified. It's really the combination of both those utilities that makes the PCH a unique proposition.

Guitar World verdict: There really isn't anything else on the market quite like this that combines a high-quality stereo DI with an onboard headphone amp for your amp pedal, so if your needs fall into that Venn diagram, the PCH has you covered. Just be aware it's probably going to have to sit on top of your pedalboard.

Hands-on videos

Strymon

• Best pedalboard power supplies

NAMM 2026: For pedalboard users, hook-and-loop tape is both a blessing and a curse, which is why the ever-practical D’addario has come up with the XPND Pedal Pry Bar – a mini crowbar specifically designed to prize pedals from ultra-sticky ‘boards.

Joining the firm’s XPND range of player accessories, the tool is “designed to make pedal removal faster and easier than ever for musicians.” That means no more struggling to rip pedals off pedalboards when it’s time for a rejig (or a frivolous expansion).

It operates exactly as you'd expect. By wedging it under your stompboxes, it frees pedals that have been secured in place with hook-and-loop systems and other adhesives that would have He-Man breaking a sweat to best. More importantly, it won’t damage your gear in the process.

The XPND Pedal Pry Bar is compatible with any board and is made with pedalboard tinkerers in mind. In other words, you won’t need to think twice about rearranging the 'board – or swapping out that old overdrive pedal for a shiny new fuzz.

When you’re done prying to your heart’s content, its diminutive form makes it ideal for storing underneath the board itself, or wherever is most convenient.

It’s available today and is priced at $9.99.

See D’Addario for more.

For more pedalboard solutions from D’Addario, see its rechargeable power supply, its pedalboard-mounted mic stand – which looks to solve an age-old real estate battle – and the guitar strap designed especially for heavy guitars.

Fender has followed Marshall and Orange into the consumer electronics space by unveiling a new flagship line of speakers and headphones.

With the launch of Fender Audio, the Big F becomes the latest guitar and amp specialist to enter the personal audio and lifestyle markets, and lays down a statement of intent for the continued diversification of the company’s product portfolio.

There is, of course, strong precedent for amp companies making strong waves in the home speaker and headphone industries. That is, naturally, less so the case for guitar brands – but with its own heritage in the amp space, Fender is clearly keen to leverage its audio prowess and capitalize on its expertise.

In the past, Marshall, one of the UK’s most historic amp makers, made its own entry into the space around 2010, when it initially partnered with (and was later bought out by) Zound Industries for a run of speakers and headphones that have since gone on to become major players in the market.

Likewise, Orange committed to the home audio market around 2016, and as recently as 2023 unveiled its first Bluetooth speaker.

There are more examples out there. Vox has its own Bluetooth speaker range, and Orange also brought out a line of headphones in 2022. Heck, even Fender kinda dabbled in the speaker space with the RIFF – a Bluetooth speaker that could also function as a guitar amp.

The RIFF was quietly launched under the Fender Audio banner in 2023, but has since seemingly been pulled from production – so this is very much a fresh start for the Big F in the home audio space.

The new Fender Audio venture – which is being operated under license by Singaporean company Riffsound – is an entirely new phenomenon, though, and has been unveiled with the ELIE portable speaker series and MIX headphones.

Short for ‘Extremely Loud Infinitely Expressive’, the speakers look to create “a new benchmark in portable sound” by delivering a “powerful, distortion-free sound across a wide dynamic range”. Two models are available – E6 and E12 – with both promising to reinvent how digital signal processors are utilized in a speaker.

The result is said to be greater volume, improved acoustic clarity and more power at a higher efficiency compared to the competition. And, since this is a Fender speaker, there's an appropriate guitar-y twist: there's a 1/4" jack – as well as an XLR input – for plugging in guitars.

The MIX headphones, meanwhile, have equally hyperbolic claims attached to them, with Fender Audio writing they “push the boundaries of modern music-lifestyle audio”. Notable specs include a whopping 100 hours of battery life and modular components that can be swapped and customized over time.

As mentioned, there’s a solid track record of guitar and amp firms entering the home audio space and making a success story of it. For Fender Audio, the early challenge will be going up against the might of Marshall, which is undoubtedly the most established guitar-related company currently in the mix.

Having said that, Fender has a prestige all of its own, and appropriately branded speakers and headphones – with reputational ties to some of the most celebrated albums and names in guitar music – offer a clear and enticing allure for fans.

Plus, a modular design that allows for customization? That’s pretty cool. And we can’t help but be intrigued by some of the lofty verbiage and specifications deployed here. Here, you have the makings of a home audio venture that has serious potential.

“Fender Audio represents our commitment to building products that bring exceptional sound and intelligent design to everyday life. It was built to carry Fender’s sonic legacy into the future of listening,” says Mah Chernwei, CEO of Riffsound.

“ELIE and MIX are built for how people listen today – portable, flexible, and deeply personal. With ELIE and MIX, we’re bringing that same craftsmanship and tonal excellence to personal and portable audio, making iconic sound more accessible than ever.”

Visit Fender Audio to find out more.

As a guitarist I've had more than my fair share of disappointing gifts over the years. I appreciate that while well intentioned, many of the gifts I've received are as a result of people not really understanding what a guitarist really needs.

A few years ago however, I received something from a friend which completely blew me away. A guitarist himself, he'd put together a care package that consisted of essentials, none of which individually cost more than $10, but overall combined to make one of the most well-thought out and genuinely useful gifts I've ever received.

It made me realise that you don't need to spend loads on a new electric guitar or potentially waste your money buying a guitar pedal that's not to their tastes. By sticking to the simple things, you can put together an effective present that will tick all of the boxes for the guitarist in your life.

Below, you'll find all the same things my friend put into my care package for me, which will work for any guitarist no matter what their playing style or level.

D’Addario has added to its growing guitar strap line-up with the Neoprene Comfort Strap, which has been specifically designed for heavier guitars.

That's right: this strap is built for weighty payloads – think all-mahogany Les Pauls and bass guitars – as it prioritizes superior weight distribution, taking the strain off your back and shoulders.

The magic lies in its 3.5” wide padded neoprene band – a synthetic and flexible rubber – which evenly distributes the instrument's weight.

With that in mind, it provides maximum comfort and a possible solution for those suffering from back issues. Its ergonomic design marries with the breathable neoprene material, promising to make it an ideal companion for long gigs and more demanding performances.

D’Addario also says that the strap’s curved profile “promotes natural posture and stability, ensuring optimal back support whether standing or seated.”

There are two versions to choose from: a Leather End Version, which stretches between 45” and 55” long, and one with the firm's Auto Lock tech, measuring 43” to 55” long, and boasting secure, quick-release functionality. They are priced at $39.99 and $49.99, respectively.

As someone who has been using an Auto Lock strap for some time, this writer can swear by how easy they are to take on and off. There are plenty of strap locks on the market, but these are up there with the best – so it's nice to see them factory fitted here.

The strap's launch follows D'Addario's work with Joe Satriani to create a strap that eliminates the dreaded twisted strap problem.

The D’Addario Neoprene Comfort Strap is available now. See D’Addario for more.

For other nifty gear hacks from D'Addario, see its rechargeable pedalboard power supply, the XPND, and its 360-degree pick holder.

Cat lovers, rejoice. Team GW might have just found the perfect gift (for yourself, of course) just in time for the holidays. Everyone loves a funky pickguard – but how about one that marries your addiction to guitars with your dedication to your four-legged friend?

Well, a small business on Etsy, named ThreeStools, owned by engineer and bass player Julia, is doing just that – creating custom pickguards in the shape of your cat.

“It all started when I wanted my own bass to feel more unique – I hand-drew a design on its pickguard and instantly loved how it transformed my instrument,” Julia explains. “Friends noticed, asked me to make theirs special too, and soon I began taking local commissions here in Singapore.

“When I started sharing my designs on Reddit, the response was incredible. People encouraged me to open a shop, but it was the overwhelming reaction to my very first cat-themed pickguard – the Telecat – that gave me the final push to launch on Etsy.”

The Etsy shop eventually expanded into custom 3D-printed pickguards and knobs for guitarists and bassists, and you can even order one that’s the spitting image of your cat.

And if you're not really feeling felines, Julia is also taking inspiration from the rest of the animal kingdom, including this aptly-titled SharkRay pickguard for Stingray basses, and this stunning, glow-in-the-dark aquatic-themed design on a G&L L2500 bass.

As Julia notes, “Every piece I make carries that same spirit of creativity and individuality that inspired my very first design.” Well, it's definitely one way to stand out from the, ahem, litter.

Speaking of cats... and perhaps the most famous cat of them all, Fender's collaboration with Hello Kitty is still going strong. In fact, the brand debuted white- and black-finished options, limited-edition feline-themed fuzz, a guitar cable, and some apparel just last month.

EMG pickups founder Rob Turner has said that working with James Hetfield forced the firm to completely reinvent its methodology as the Metallica guitarist pushed its craft to the limit.

The thrash icons are one of the most notable bands to have adopted EMGs, and helped define their status as heavy metal pickups.

“Kirk [Hammett] was the first one to call up, but I had no idea who he was,” Turner says during a talk with Thomann at Guitar Summit 2025. “I don't think he knew who he was, actually. He was in a band and they were trying to get a record deal, and he had this purple Stratocaster with two single-coils and a humbucker in it.”

That first encounter between EMG and Metallica predated their debut album, Kill ‘Em All, which shows how integral the EMG’s high-output active pickups have been to their world-conquering sound across their entire discography.

“I think James [Hetfield] got a little jealous of what was going on,” Turner adds with a smile.

Before long, the guitarists worked with EMG on their own pickups, and some years later Hetfield’s exacting ways put Turner through the ringer.

“Hetfield was the toughest [to voice a pickup for],” he says. “We built 19 different models. He more or less changed what we were doing. Normally, we use a very narrow core in the pickup, and he wanted to have pole pieces.”

This created a domino effect of challenges, which forced Turner to rethink his approach.

“So then we're going to start with a larger core and a larger coil. That means [having] a larger aperture, which means there's going to be too much low-end,” Turner explains. “So then it's like, ‘Okay, we’ve got to change the dimensions of the coil. They need to be taller and thinner. We need to be able to space them accordingly.’

“The hardest one was the neck pickup,” he adds, “because it uses ceramic poles. Typically, nobody does that. They're too strong. So, we had to magnetize them to a certain extent.

“Then we showed him a tray of sample finishes, and he picked the hardest one to do, which is this black, shiny, stealth-like, and it's the hardest thing to prevent from getting scratches in production.”

Hetfield's official signature 'Het Set' ultimately reshaped what were, at their core, EMG and EMG81 humbuckers. In the firm’s promotion material for the set, Hetfield is quoted as wanting “something unique and historic.” He certainly got that.

In related news, Dave Mustaine has revealed that Megadeth will close out their last-ever album with a cover of Ride the Lightning, a song he co-wrote with Hetfield before he left Metallica.

What is it?

If there ever were a Lennon and McCartney in guitar pickup design, it would have to be the formidable duo of Bare Knuckle’s chief designer and founder, Tim Mills, and Adam 'Nolly' Getgood — whose extensive résumé, including work with Periphery, Animals as Leaders, and Devin Townsend, along with his role as a music software entrepreneur for GetGood Drums, is nothing short of impressive.

Both of these blokes’ collaborative efforts have already yielded the acclaimed Polymath and PolyPaf humbuckers, cementing their reputation for voicing exceptional pickups.

Not ones to rest on their laurels, Mills’ and Getgood’s work recently caught the attention of prog metal guitarist Mike Stringer of Spiritbox during a tour stop. From there, Stringer became deeply involved with this power couple to craft a signature pickup that can precisely enhance the low-end density of a 7-string guitar that’s being pummeled with gain, while also clearly detailing ambient and clean tones when both pickups are combined.

The result of this three-way collaboration is the rousing Halcyon humbucker, available in both bridge and neck models, which sounds even more monumental when you hear it in Stringer’s preferred drop F# tuning. If your musical proclivities span between metalcore chugging and taut cleans that slap and pop like Stringer’s, then the Halcyon humbucker could be the forceful sonic voice you've been seeking.

Specs

• Price: Starting at £195.60 per pickup (approx $247), or £376.80 for a set (approx $476)
• Type: Twin blade pole-design humbuckers
• Origin: U.K.
• DC Resistance: 17.9 kΩ (Bridge); 7.9 kΩ (Neck)
• Magnet: Ceramic (Bridge); isotropic Alnico V (Neck)
• Features: 4-conductor or braided 2-conductor wiring; short or short-triangular mounting legs; available in the full range of Bare Knuckle’s humbucker colors, custom finishes, blade colors, and covers.
• Potting: Yes
• Contact: Bare Knuckle Pickups

Usability and sounds

While it seems tempting to install the Halcyons in a set-neck, single-cut guitar, Bare Knuckle suggested that I try the Halcyons in a modern superstrat that’s more in line with how Stringer plays. Lucky for me, my Charvel Dinky DK24 is the perfect guitar to outfit these humbuckers because of the guitar’s five-way switching and coil tap switch that allows for multiple coil-splitting configurations to hear the Halcyon’s wide range of tones on tap.

Also, knowing that Stringer is a stalwart of the 7-string and I am not, I opted to hear how the Halcyons fare with a 6-string guitar, which I believe most players will want to know about.

I’ve never been a fan of rail pickups, and as good as some have sounded, I just never liked the way they looked. Nowadays, with the advent of more performance-driven shapes and sleeker contours on guitars, I’ve softened my position. Right now, the dual-bladed Halcyons look absolutely killer in my Charvel.

Speaking of “killer,” my guitar tech who installed the Halcyons informed me, “I’m just gonna warn you — these are the LOUDEST pickups I’ve ever heard in a guitar. Make sure you put the dogs and kids in another room before plugging it in.” Noted.

Just like the Ragnarok humbucker, the Halcyon is among the highest-output passive pickups Bare Knuckle produces. One look at the pickup resistances on the Halcyons shows the bridge measures at a gargantuan 17.9k ohms, but the neck reveals a more moderate 7.9k ohms.

Checking Bare Knuckle’s online chart, the EQ block graph displays a decreased bass with bumped-up mids and treble on equal footing. For this reason, PAF pickup partisans may want to look elsewhere since the powerful output of the Halcyon bridge is unapologetically voiced for modern aggression but also calibrated for balance.

Having a twin‑blade pole design (versus individual pole pieces) allows both pickups to maintain even string balance across various gauges and tunings — making these pickups particularly effective for drop tunings and in use on multi‑ or extended-scale instruments.

The Halcyon bridge is stacked with a trio of custom ceramic magnets to deliver a biting midrange, muscular output, and razor-sharp attack without being flabby in the lows. The neck pickup’s leaner wind around an Alnico V magnet provides ample headroom for a refined hybrid of cleaner and ambient textures. Surprisingly, despite that intentional contrast between the Halcyon’s individual builds, there is no discernible output drop as you switch between the neck and bridge, or engaging coil-tapping, which allows you to summon an array of dynamic tonal colors without sacrificing balance.

Finally, the Halcyon is available in several cosmetic options to match your axe. You can get it in traditional black, but Bare Knuckle also offers a variety of covers and radiators, blade colors, and certain custom finishes. This pickup typically comes with 4-conductor wiring, which allows for versatile coil-splitting options, but is also available in braided 2-conductor wiring.

Heeding my tech’s advice, I started on a clean channel of my Blackstar St. James head to catch the initial breath of these Halcyons. And yes, he’s right; the bridge pickup has a massive output unlike anything I’ve ever heard. You can hear a colossal wall of rounded lows and weighted mids, but thankfully, no excessive “boom” on its bottom end.

You can gather from this clean state that it’s the kind of humbucker primed for utmost saturation. After dropping my strings down to F♯ and pumping full-throttle gain from my EVH 5150 III head, it’s apparent that the Halcyon doesn’t possess a feral nature; instead, it captures pure brutality through controlled aggression. By chugging away on the wound strings, you can sense how well the Halcyon bridge handles low‑end with clarity and manages to preserve chordal articulation under the strain of increased gain from modelers and pedals, or in this case, a high-gain amp driven to its limits.

Sticking with the bridge pickup, I found it was great for injecting elements of Stringer's style. As I unleashed a barrage of rhythmic pick scrapes and thickly layered, low-end riffage, the Halcyon responded with surgical precision and presence. Moreover, I could hear how cleanly my rapid two-handed tapping solos sliced through the untamed red solo channel of my 5150. The pickup’s fast attack and measured aggressiveness are so convincing that it almost made me sound like a dyed-in-the-wool Hesher who’s been playing industrial metal for years.

Switching over to the neck, what’s immediately clear is which pickup is the Alpha and which is the Beta — and that’s not throwing shade at the neck. The Halcyon neck wastes no time pulling punches; it still hits hard, but it’s all about firmly detailing its crystalline voice that doesn’t clash with the bridge.

Any combination of splitting the coils allowed me to articulate taut, clean notes that sound like slap-bass on the low strings, or to introduce delicate volume swells drowned in ambient reverberation, to which I accentuated arpeggiated lines using a dotted-eighth note delay setting. What’s cool is that no matter the pickup configuration or coil-tapping I used between the neck and bridge, both consistently proved the Halcyons fuse precision with authority, allowing each riff and note to land with weight and vitality.

Verdict

Verdict: ★★★★½

Bare Knuckle consistently brings something unique to the table, and here, the Halcyon is a powerful humbucker imbued with an aggressive nature that doesn’t sacrifice clarity. The Halcyons are uncompromising, high-performance pickups specifically designed for modern, drop-tuned, progressive, and industrial metal genres.

Guitar World verdict: For players focused on tight distortion, multiple coil-splitting options, extended range, and maintaining clarity at high gain, these pickups are a highly compelling choice. However you utilize them, Bare Knuckle’s Halcyon humbuckers provide a pugnacious foundation of intensity that demands your attention.

Hands-on videos

Bare Knuckle Pickups

Aristides Guitars

• How Spiritbox’s Mike Stringer went from reluctant hometown hero to metal’s new seven-string phenomenon

What is it?

The old adage goes, “If you want great, vintage bass tone, change your bass strings approximately half as regularly as you change your bank account”. Or something like that.

Indeed, Motown legend, James Jamerson was famous for rarely changing his strings, claiming “the gunk keeps the funk”, and he wasn’t alone.

Countless bassists prefer the sound of well-played strings that have long lost the high-end sizzle and bright attack of a pack-fresh set. Americana session player, Bonnie Whitmore told Guitar World in 2021, “I'm one of those bassists who never changes their strings, and when I do, I rub bacon fat on them to deaden them!”

But, what if you don’t have years of time or would prefer not to be reminded of cured meats every time you play, there is another way: flatwound strings.

Another player who has been a longterm convert to flatwounds is Pino Palladino, who you’re probably familiar with from his work with, well…everyone. Most recently, Pino announced that he's teamed-up with Ernie Ball to release a signature set of flatwounds: Ernie Ball Pino Palladino Smoothies. made of an outer wrap of cobalt-alloy ribbon over an inner core of steel, these strings aim to give you Pino's preferred starting point and feel straight out of the pack.

“I guess we could go back to the mid-90s” Pino tells Ernie Ball. “I’d been playing my fretless bass almost exclusively on lots of sessions, and there came a point where I was just getting a little jaded with it.

"I got myself a Fender Precision Bass and put some flatwound strings on it. That became a new thing for me.”

What are flatwound strings?

As with roundwound bass strings, flatwound strings consist of an outer winding, wrapped around a central core. However, where roundwound strings feature a (you guessed it) round-profiled outer wrap, flatwounds use a flat, ribbon-profiled wrap. This not only changes the feel of the string, but it also pretty much eliminates the friction-creating gaps between each wind. For a more detailed description, check out our guide to the differences between flatwound vs roundwound bass strings.

In Use

I tried the Pino Palladino Smoothie Flats in Medium gauge (43, 61, 76, 104) –– one of two gauges spec’d by Pino with Super Light also available –– on a couple of different basses. First was a Fender Player II Modified Precision Bass (an active P-Bass with a PJ pickup configuration) as well as a Squier Jazz Bass.

They come in standard packaging with cloth-wrapped ends to help reduce and prevent string slippage, and I’m pleased to say that (unlike the occasional experience from various other brands) they came out of the pack free of any oxidization.

Reviewing strings from ‘tonal memory’ is fraught with potential suggestion and subliminal observations, so, to aid with the sonic side of this review, I recorded a few simple basslines with the original roundwound strings and again with the flatwounds. However, the first thing that’s immediately obvious with flatwounds as much as the tonal difference, is the change in feel.

The first stop was an appointment with an allen key. Flatwound strings can add a little more tension relative to roundwounds, and while slight, I tweaked the truss rod in order to remove a little of the additional relief.

These strings are extremely forgiving, which makes playing them for extended periods a joy, without fatigue on your fingertips. The cobalt wrap has been highly-polished to produce a glassy feel, and it’s really noticeable when traversing the fretboard.

Of course, this isn’t unique to Pino’s signature Ernie Balls, and a good amount of the shift in comfort qualities come from the flatwound ribbon’s profile - helped along here by the finishing process. But if you haven’t ever tried flats instead of roundwounds and are looking for something a little less callous, you’re in for a treat.

Now, let’s talk about cobalt. As you might already be aware, Ernie Ball uses cobalt in place of steel for the outer wrap on a number of its strings, and the main characteristics of cobalt are a strong output, combined with heavier bass and a clarity-boosting lift in the treble end.

This might seem contrary to the ethos of flatwounds, and in a sense, it is. So, while there’s an audible difference in the tonality between the Smoothies and roundwounds, it’s more subtle.

The finger-noise is most definitely reduced by a long way, and the higher end is tamed too. Overall there’s less of the new-string zing too, which is something that you’ll either love or not, depending on where you stand on glossy-sounding new strings.

But the presence is still there, maintaining note definition. Tonally, the straight-through, unprocessed difference in sound place the Smoothies in the ‘vintage-inspired’ category rather than out-and-out old school tones. You get all the feel of flatwound strings, with a retro vibe that still has a modern twist to it, much like the man who they’re made for.

Final Thoughts

If you’re after the building blocks of ’60s-style rock and roll, R&B and funk/soul, these will certainly get you a long way towards them, without being wholly throwback straight out of the pack.

The tonality will dull over time, for sure, but in the weeks I’ve had them fitted to my bass they’ve held their tuning and intonation, with the tonal characteristics still intact.

The biggest change comes from the super-comfortable feel, aided by the high-sheen finishing. It’s been an interesting and inspiring start, but needless to say, my jazz Bass is going to remain strung with flats for the foreseeable future.

It’s no secret that the music industry – and especially the space we inhabit, i.e., the guitar world – runs on AA and 9V batteries, whether it’s pedals, active pickups, wireless systems, battery-powered amps... or anything in between.

In an effort to reduce disposable battery waste and make the industry more sustainable, Ernie Ball is rolling out a new line of USB-C rechargeable lithium-ion batteries, designed specifically for musical equipment.

Available in AA and 9V formats, Ernie Ball USB-C Rechargeable Batteries were developed in collaboration with Paleblue, an expert in the field, and guarantee “consistent, full-voltage performance across instruments, wireless packs, pedals, tuners, and more.”

Each battery features USB-C direct charging, along with LED charge indicators, a rugged reusable storage case, and a lithium-ion design that Ernie Ball states is rated for over 1,000 recharge cycles.

Moreover, with recharge times as quick as 75 minutes to 80%, these high-capacity batteries promise “continuous, reliable power,” while aiming to reduce waste and long-term costs.

“I think rechargeable batteries are the only way forward in this industry,” comments Red Hot Chili Peppers and Jerry Cantrell guitar tech, Henry Trejo.

“There’s too much waste when it comes to conventional batteries. You also have the added benefit of carrying less bulk, which also reduces weight, especially when touring on a budget.”

To test drive these new rechargeable batteries, Ernie Ball has already placed them in the hands of guitar techs for artists such as the Chili Peppers, Billie Eilish, Turnstile, and Nine Inch Nails for real-world performance feedback.

The Ernie Ball USB-C Rechargeable Battery line is available now through select retailers throughout North America.

For more information, visit Ernie Ball.

La Bella Strings has teamed up with funk and session ace Ella Feingold for a signature set of guitar strings that brings her favored expansive inverted guitar tuning to the masses.

Feingold, who made her name playing with the likes of Bruno Mars, Kanye West, and Jay Z, has become one of the foremost champions of a tuning that was first explored by Chris Weisman around 2008.

As its name suggests, the tuning flips the electric guitar on its headstock for a whole new world of harmony.

The set has a 46-11 gauge – .046W (low E), .032W (B), .017 (G), .026W (D), .016 (A) , .011 (high E). It is strung to mimic a standard six-string's tuning setup, though flips the pitch and gauge around the D and G string equator. In essence, the low E becomes the high E, while the A and B strings also have their pitch and gauge 'inverted'.

Notably, the D and G strings are not inverted, and keep the same orientation as standard. That also means that the high E is in the place where the low E is usually found – and Feingold has previously discussed how that helps combat strumming issues found with traditional guitar designs.

“What I love about playing upside down is the fact that there's all this real estate for your hand to go anywhere it wants to,” Feingold once told Rhett Shull, having first played a guitar that was quite literally flipped upside down in order to try inverted tuning. “You don't have to worry about hitting the pickup selector.”

The Grammy winner, who once auditioned for Prince, has made quite a name for herself with the tuning. This new signature set empowers others to experiment with it, although La Bella recommends getting a custom nut to aid fitment. Flipping the nut has worked a treat for some and is a lot cheaper.

“Inverted tuning is a treasure trove of undiscovered harmonies and colors waiting to be called upon,” says La Bella, which becomes the first big brand to make an official set for the tuning.

The Ella Feingold signature string set is available to order now and is priced at $9.59 per pack. They are made with American Wire and packaged using MAP Technology (Modified Atmosphere Packaging) to maximize freshness.

Head to La Bella to learn more.

Elsewhere, Feingold has explained why every up-and-coming guitarist should learn from this “gentle genius,” and has also revealed how her Prince and Bruno Mars auditions proved to be worlds apart.