In 2026 the guitar industry has never felt so saturated. Gear fatigue is real. For many observers the market is a merry-go round of familiar body shapes and styles, capable of inducing a dizzying deja vu. Fresh faces are few and far between.

At least, that’s the thinking at Guitar Center, whose CEO is on a mission to bring something fresh to the market with a new in-house instrument brand. But he’s not going about it the orthodox way – he’s asking players to help him design a guitar from the ground up.

Last month, Gabe Dalporto made headlines when he announced his Guitar Labs initiative. The idea is simple: a bunch of like-minded guitar fans gather on an online forum and debate what constitutes the perfect guitar.

Pickups, hardware, tonewoods, electronics, layouts, body shapes, contours – no stone is to be left unturned. Common frustrations, shared shortcomings, annoying imperfections of other models will all be taken into consideration.

The aim is to pool cutting-edge insight from fans and players alike to produce something innovative and completely different – something that will push guitar design forward.

Which is, of course, much easier said than done. The execution will be a monumental task. Established brands have long struggled to do what Guitar Center is trying to do. But Dalporto isn’t fazed. He has full faith his team will deliver.

“A large portion of the industry continues to chase replicas of ‘50s and ‘60s engineering,” he tells Guitar World. “Leo Fender built the first Telecaster 70 years ago, and since then we’ve put a man on the Moon, invented the smart phone, created AI and launched self-driving cars.

“We all love vintage instruments, but we also can’t be tethered to the mindset that the 1950s was the pinnacle of guitar technology.”

Guitar Center, of course, isn’t the first retailer to launch an in-house brand. Thomann has Harley Benton; Andertons has K-Line; Gear4music has SubZero. Heck, this isn’t even Guitar Center’s first rodeo – that mantle goes to Mitchell.

But this time is different. Dalporto has lofty ambitions for his as-yet-unnamed project, which could very well define his legacy with the retail institution in years to come.

“Many retailers offer house brands because, when you cut out layers of the supply chain with all their overheads and corporate bureaucracies, you can offer a higher quality product at a lower price.

“Unfortunately, most retailers simply make copycat products and charge a little less. That’s completely uninteresting to me. I told our team the last thing the world needs is another Les Paul or Telecaster clone.

“I gave them a challenge: if we’re going to launch a new guitar brand, it’s got to be demonstrably better than anything out there. We need to bring actual innovation to the table – ‘Go make the best sub-$1000 guitar that the world has seen, that isn’t a clone of something that already exists.’”

Perhaps the biggest talking point surrounding the project is the way in which the digital floor has been opened for input. The Guitar Labs Reddit page is very clear in its caveat that any idea proffered to the company will belong to the company.

“By submitting your Idea, you assign, transfer, give and relinquish to Guitar Center all right, title and interest in and to the Idea or any material based upon or derived therefrom for no consideration,” the legalese-riddled statement reads. “Guitar Center may use and exploit, without any payment or attribution obligation of any kind, any Idea you provide to Guitar Center.”

In other words, if you help design the thing, don’t expect to be compensated for it when it starts making a profit further down the line. That all belongs to Guitar Center.

Safe to say the response was mixed, if slightly more skewed towards skeptical. “Why would we give you our ideas for free?” fans would argue. For Dalporto it isn’t so black and white. “Literally millions of musicians come through our doors every year,” he says of the decision to include players in the design process.

“And if there are two things we know about musicians, it’s that they’re creative and they’re opinionated. Why not engage directly with them right out in the open, let them tell us the things that tick them off about their current instruments, the things they wish their instrument did – then build them exactly what they want?”

Dalporto is keen to shrug off the skepticism. “First off, I would say, ‘Please, if you don’t want to contribute to this product, then don’t,’” he states. “Nobody is forcing anyone to contribute. We transparently posted that anything they contribute is voluntary, and we may actually listen to them and use their suggestions.

“Beyond that, would you rather we didn’t listen to customers? That we just hide in our offices and listen to some corporate shirts pontificate on pickup choices and make uninformed decisions in the pursuit of mediocrity? I think that’s a lousy way to build an instrument.”

On the flipside, some are embracing the opportunity to be involved in the process, and have readily offered up their insight to help put the brand together. “We’ve gotten enormously valuable feedback from a variety of sources,” Dalporto reports. “The conversations on IG and Reddit are very active; there’s been great learnings there.”

And fans aren’t the only ones to have been involved in the process. Dalporto reveals that a handful of heavyweight consultants have also been brought into the R&D process. “We’ve engaged with some legendary musicians and product designers for feedback and design recommendations,” he teases.

“We’re actively building prototypes and testing frequently with small groups of musicians. Our engineers are conducting an enormous number of experiments, from measuring body stiffness to string friction and tension during tuning, and mapping the pickup response profiles of iconic instruments.”

There’s no date set for when the guitar will make its debut to the world – but it might be closer than you think. Dalporto says he and his team are making good progress.

“I’d say we’re about 90 percent there in terms of identifying the everyday friction points players deal with and just learned to live with,” he confirms. “Things that slow them down, limit them, or don’t quite match how they play today. The problems worth solving.

“We’re maybe 50 percent there in our solutioning and engineering. We have ideas and points of view on the specifications, but we haven’t locked any of them yet.”

No matter what some may think of Guitar Labs, Dalporto clearly has grand designs for the brand. This is not a ‘one-and-done’ scenario – it could very well be the start of something bigger.

“Another thing retailers mess up with house brands is they build some product, slap a generic name on it, throw it on the shelves, and then… nothing,” he observes.

“I think that’s wrong. If we’re going to build a product line, let’s have it be a real, honest-to-God brand. Talk to a ton of musicians and find an unmet need. Define what you stand for. Design the products to those standards. Test prototypes with customers.

“Get it in front of expert reviewers for their honest take. Develop a multi-year pipeline of product innovation and line extensions. Market it.”

Ultimately, says Dalporto, he wants products that not just move the guitar into the future, but will stand the test of time. As the CEO concludes: “This is a brand that we hope will be around 100 years from now.”

• Visit Gabe Dalporto’s Instagram channel to keep up to date with the Guitar Labs progress.

The world’s largest music retailer, Thomann, is suing Fender in an extraordinary escalation over the guitar company’s recent wave of cease-and-desists.

Thomann, whose in-house guitar brand Harley Benton was hit by a cease-and-desist of its own, has become the first firm to take Fender to court in the ongoing Stratocaster copyright dispute.

“After careful consideration, we have decided to take legal action,” a statement on the Thomann blog reads. “We have done so because we are convinced that the questions raised here go far beyond a mere legal dispute and affect the future of diversity, innovation and competition in our industry.”

Thomann claims it is acting on behalf of other prominent brands and smaller manufacturers, and specifically names “custom shop brands and innovators”, including Tyler, Tom Anderson, Suhr, LsL, Maybach, Pensa, FGN, and PRS as firms that it believes are now at risk due to the current legal action.

The retailer was founded in 1954, the same year as Fender launched the Stratocaster, and it has carried the brand for over 70 years. Many of its staff play Fender guitars. Accordingly, it says Fender’s action against longstanding business partners has “surprised and disappointed us”.

“We used to be a small music store ourselves and know exactly where we have come from,” says Thomann CEO Hans Thomann.

“Diversity, fairness and respectfully dealing with each other have always been part of our philosophy. Many of those affected do not have the financial and legal means to conduct such a legal dispute. We therefore see it as our responsibility to have this matter clarified in court not only for our own company, but for all parties involved.”

In its legal action, Thomann will be pursuing similar arguments to industry lawyer Ronald Bienstock: namely that the Stratocaster is not a copyrightable ‘work of art’ as the court of Dusseldorf has ruled. Rather, its design and subsequent success is down to ergonomics, which is what has led to the proliferation of variations in its wake.

Thomann concludes its statement with a direct appeal to Fender on behalf of the industry at large.

“The history of the Stratocaster has not been written by one company alone. It has been shaped by musicians, luthiers, developers and manufacturers around the world. Its importance for the music world also arises from the sheer number of people who built on it and developed new ideas from it.

“We see this diversity as one of the great strengths of our industry.

“That is why we will continue to pursue the legal path we have chosen. Not only for our own company, but also for the many manufacturers, dealers and guitar makers who have shaped our industry for decades and continue to shape it.

“We urge Fender to stop issuing cease and desist demands against manufacturers, distributors and dealers and to return to a fair, cooperative partnership.

“Because we are convinced of this: The future of the guitar world depends on diversity, innovation and the freedom to create.”

Thomann and Fender have been contacted for comment.

Fender’s recent legal movements stem from a default ruling issued by the Regional Court of Dusseldorf in March, which granted “enforceable rights against any guitars using the Stratocaster body shape” in the EU.

In May, it issued cease-and-desist letters to various firms it believed to be producing Strat “copies”, among them family-owned LsL Instruments and PRS Guitars.

Although Fender has since sought to frame its actions as “working directly with companies to find practical paths forward”, they have been met with backlash from the guitar community, with several prominent YouTubers criticizing and even cutting ties with the company.

Of the many iconic guitars that became popular during the 1950s, Gibson’s ES-175 is one of the most enduring. Launched in 1949, it holds the record as Gibson’s longest electric model in continuous production – for 70 years until 2019. (The equally revered ES-335, which debuted in 1958, is showing no signs of obsolescence and so is likely to overtake it in 2028.)

Also in 1949, Gibson introduced the 175’s acoustic equivalent in the L-4C model, which had a premium carved spruce top more typical of the jazz guitars of the day. By contrast, the ES-175 has a laminated top reinforced with two parallel braces whose resistance to feedback proved popular with players as concerts got bigger and performances got louder.

Accordingly, the list of famous ES-175 players is long, with jazz virtuosos Herb Ellis and Joe Pass most strongly associated with the model. Many players used the double-pickup version, despite sticking to its neck pickup with the tone rolled back – and Pat Metheny famously took this all the way, removing the bridge pickup and controls and taping the vacant holes.

His ES-175 has many other mods: a bound headstock (most likely a subsequent luthier modification not uncommon in the ’60s and ’70s), a toothbrush skewered through the tailpiece to replace a lost end-pin strap button(!), an internal mic in the treble f-hole, and Grover tuners, a frequent upgrade back then.

Nevertheless, the popularity of these models extends beyond jazz boundaries, with notable players including Steve Howe, B.B. King and even John Frusciante, while Scotty Moore is known for playing the 175’s close cousin, the ES-295.

Comfort Zone

Professional jazzboxes of the pre- and post-war period were often large. Elmer Stromberg’s celebrated instruments, such as the Master 400, were a full 19 inches wide, while Epiphone’s Emperor lower bout measured 18 ½ inches and Gibson’s Super 400 also tipped the 18-inch mark.

By contrast, at 16 ¼ inches and considerably lighter, the ES-175 was comparatively more comfortable for both the player and their wallet, with a price on release of $175, reflecting Gibson’s historic trend towards naming guitars after their launch price points.

The first examples of the Gibson ES-175 had a single pickup, and either a rich sunburst finish or a Natural blonde finish, with a $15 upcharge.

While single-pickup models were discontinued in ’71, the configuration reemerged in models such as the fancy ’90s Herb Ellis ES-165 design. Twin-pickup models, the ES-175D and DN (such as the 1954 example photographed here), appeared in 1952 and came with an upcharge of around $50.

A very few special orders were produced in black, red and even white. The rockabilly-favourite ES-295 – in production from 1952, discontinued by ’59 and reintroduced in ’94 – was essentially a fancy gold-finished ES-175 with a different tailpiece and plastics.

A few ES-175s are known to have escaped the Gibson factory with the ‘Alnico/Staple’ pickups that featured on several high-end models and early Les Paul Customs, but the overwhelming majority carried ‘dog-ear’ P-90 pickups from launch until the new Patent Applied For humbuckers were introduced in 1957 across Gibson’s middle and upper lines.

Many late-50s ES-175s were later stripped of these, alongside their tuners, control knobs and pickup switches, to refurbish or complete conversions and replicas of more valuable collectibles such as Les Pauls.

Early ES-175 knobs were a tall barrel shape with no numbers, whose early transparent plastic sometimes goes cloudy with age. These became slightly less tall and gained numbers to become more recognisable to modern eyes through to early ’53, and knobs then followed Gibson’s trend across all models (‘speed’ knobs in ’53, ‘bonnets’ in ’55, ‘reflectors’ in mid-’60 and ‘witch hats’ in ’66).

Similarly, Gibson ES-175 pickup switch tips gradually got lighter and rounder across the 50s, and became noticeably whiter by the early 60s. The switch was mounted directly into the top on the upper bout, and the jack socket into the side of the lower bout.

Both areas can suffer from splitting over time. Some players must have grumbled about the switch’s acoustic clunk – because around ’57 (as humbuckers were introduced) a rather clunky rubber mounting grommet was introduced on Gibson archtop models, in all likelihood to damp its mechanical noise.

Cutting Edge

Whereas many Gibson archtops evolved through rounded (Venetian) and Florentine (pointed) cutaways to allow upper-fret access, the ES-175 always had a sharp cutaway, and this marked a first for Gibson.

Adrian Ingram, professional jazz guitarist and author of The Gibson 175: Its History And Its Players (Centerstream Publishing), told Guitarist: “It’s alleged that the idea for the ES-175’s sharp [Florentine] cutaway was suggested when a young Kenny Burrell took one of his guitars – an early blonde L-5 that had been modified with a Charlie Christian pickup – to Gibson and asked for a deeper cutaway.

“It’s anecdotal, but there are some pictures of him playing this guitar with a sharp cutaway. Sharp cutaways look great, especially on a smaller-bodied archtop like the ES-175.”

The one-piece ivoroid-bound mahogany neck joins the body at the 14th fret, like most flat-tops, and it originally had 19 frets, with a 20th being added in 1955. Double parallelogram markers guide the way from the 1st to 17th frets, while a crown inlay features on the headstock face alongside a pearl Gibson logo.

Small frets were typical until 1959 when a wider, deeper fret profile was introduced. The neck profiles follow the trend across Gibson’s range from a comfortable early full ‘C’ shape, through ’59’s famous ‘D’ shape, to 1960 to ’62’s flatter ‘blade’ profile, before thickening again in ’63.

Kluson tuning machines with plastic tulip buttons and single rings feature on ES-175s until the transition year of 1960, when the tuner buttons gained a second ring of ornamentation (again often scavenged to restore, convert or recreate Les Pauls).

Many of these early plastics could be unstable, sometimes decomposing or disagreeing with the case lining dyes and glues of the day. These reactions produced gases that attacked and corroded metal parts, particularly gold-plated ones.

Regular production models featured a floating rosewood bridge, though some upgraded to the adjustable tune-o-matic unit introduced later to improve intonation. Most ES-175 players tended to use heavier strings with a low action for jazz, where string bending is less common.

Muted jazz tones are often enhanced by using flat-wound strings with a wound third, so the change in bridge stagger required to correctly intonate plain third strings was not such an issue as it was (and is) on other contemporary models.

Strings were anchored by a trapeze tailpiece of flat nickel-plated brass with a bar with pointed ends ornamented with two raised diamond shapes.

Some tarnish, others retain their shine as their patina develops. By ’57, the tailpiece became a central T-shape bar with a zigzag rod ornament to each side.

The top body edges are triple bound with white/black/white plastic strips, the f-holes are unbound, and the back edges are single-bound. The end strap buttons are ivoroid, and instruments quite often left the factory with no neck heel strap button as they were expected to be played sitting down. The pickguard is bevelled plastic, which can dish as its five plies shrink at different speeds with age.

The original single pickup is positioned about an inch away from the neck – neither right up against it nor in the middle position of, say, the somewhat later ES-225T or ES-330T. When double-pickup models entered in ’52, a very few of the earliest double-pickup models left the factory without the ‘D’ designation on their labels.

Enduring ESes

ES-175s have a spacious, airy, woody amplified tone. Like most archtops whose designs stemmed from big band use, they have a longer throw than many flat-tops and their acoustic tone is focused in the percussive midrange.

These guitars really were mainly used as hard-working tools, so very clean examples are quite unusual. Matching cases usually had brown exteriors (like that of the pictured model), but inside colours varied from early brown and green through mid-/late-’50s pink, and even some maroon, before the standard early ’60s black with yellow or sometimes purple linings took over.

The early humbucker variants from ’57 to ’60 command higher prices, not least from the parts-vultures who change their parts out onto Les Pauls for profit. But ES-175s with P-90s are still relatively affordable. And very good!

• With thanks to Gardiner Houlgate for allowing us to photograph this model.
• This article first appeared in Guitarist. Subscribe and save.

Welcome to Guitar World’s weekly gear round-up, your one-stop-shop for keeping up to date with what’s been happening in the big wide world of guitar gear over the past seven days.

From new electric guitars to amp modeler updates, the guitar industry is never short of fresh releases, and it can sometimes be hard to stay in the loop with every new launch.

To make things a little easier, we’ve put together an essential must-read guide that will cover the major releases, the boutique drops, and everything in between.

Below you'll find my personal highlights from the week, along with plenty of honorable mentions for the new gear you might have missed. Agree with my picks? Have a highlight of your own? Let us know in the comments.

Squier Paranormal Series

When team GW visited Fender HQ a few weeks ago to get the skinny on all its upcoming models, I found myself distracted 99.9% of the time because there was one model on display that I couldn’t take my eyes off: the Stratocaster Deluxe.

I am a lifelong Strat player, but I’m also a big Telecaster fan. The Squier Paranormal Stratocaster Deluxe looks to be the best of both worlds. The Tele neck single-coil gives you some T-style twang, while the bridge humbucker brings a bit more beef to the table. There’s even coil-splitting involved. If I could get the pickup configuration in my Strat, I would.

What’s more, I think it looks really cool. Heck, this is a Squier Paranormal series, after all, so of course it’s going to do things a bit differently. It’s a fresh spin on the Strat, with a neat pickguard design and an oversized headstock that is making me hot under the collar. That sunburst model? Phwoar.

Aside from that, the 2026 Squier Paranormal range also includes a Bigsby Troublemaker Tele, Electric VI, Baritone Jazzmaster, and Thinline Precision Bass.

EQD Sunn O))) HalfLife Octave Distortion and Booster

EarthQuaker Devices has unveiled the Sunn O))) HalfLife Octave Distortion and Booster pedal, the latest evolution of the Life Pedal which permanently joins the EQD lineup for the first time ever.

In case you were wondering, that’s very good news indeed. The V1 and V2 versions were released as limited runs. This new version expands on its predecessors, offering the same brutal tones in a more compact footprint.

Fans of doom, noise and experimental rock guitar, this one will probably have your name on it. Dubbed a ‘three-headed sonic beast’, it’s got octave-up fuzz flavors a la Shin-Ei FY2 and FY6 pedals, a classic Rat-style distortion, and a MOSFET clean boost for harmonic saturation and feedback.

It’s one of those pedals where writing about it doesn’t really do it justice. Check out the video above to hear it in action.

Fender Limited Edition Pro Classic Silent

As much as I love my Strat, the hum that comes with single-coils can often be quite tedious. It’s an occupational hazard, I know, and in my opinion it’s totally worth it, but there have been times when I wish they would just pipe down, without resulting to noiseless single-coils. They just aren’t quite the same.

Well, Fender has done something quite clever here, because it has developed what it’s calling the ‘Silent System’, a potentially game-changing approach to single-coil guitars.

The completely passive, patent-pending tech promises to leave tone untouched while eliminating single-coil hum. On paper, it looks like a very good idea, and the fact it’s passive is even better. Details on how exactly it works are quite sparing, so I’ll be investigating further (watch this space).

Whatever the case, it debuted on the new limited Pro Classic Silent range, which comprises a Strat and a Tele – both available in some neat finishes and either maple/rosewood fingerboard options.

Also launched this week…

Fender James Jamerson Precision Bass

Fender pays tribute to one of the most legendary bass guitar players of all time, and recreates his workhorse P Bass.

For more: Fender

Fender Player Fusion Series

A radical, hard-rock spin on Fender’s entry-level MIM electrics, with high-output pickups, ebony fingerboards, Floyd Roses and more.

For more: Fender

Fender Player II finish updates

The Player II range has been treated to a cosmetic update thanks to some new finishes that include the distinctly Silver Sky-esque Cactus Grey...

For more: Fender

Orangewood Dylan Retro, Nash Retro, Brooklyn Retro

New dreadnought, parlor and grand concert acoustics have been added to Orangewood’s ever-growing collection. Side note: I have the rubber bridge one. It rules.

For more: Orangewood

Jackson Pro Rob Cavestany Death Angel

Rob Cavestany of Death Angel has one of the most eye-catching signature Jacksons you’ll come across. Now it’s available in Snow White.

For more: Jackson

Electro-Harmonix Percolator Harmonic Saturator

EHX offers its take on the ultra-rare Interface Harmonic Percolator, an old-school fuzz beloved by Steve Albini.

For more: Electro-Harmonix

Epiphone Inspired by Gibson Custom finishes

New vintage finishes for the Les Paul, Les Paul Special, SG and Firebird models from the Epiphone Inspired by Gibson Custom range. Highlights include Poppy Burst and TV White.

For more: Epiphone

Epiphone JAY of ENHYPEN SG Tribute

An insanely affordable-but-slick signature for global K-pop phenom Jay, exclusively available in South Korea and Japan.

Coheed and Cambria Evil Instruments Jackhammer guitars

Two new Jackhammer models from Evil Instruments guitars, as founded by Claudio Sanchez of Coheed and Cambria. One of the models is inspired by Jimi Hendrix and the other, er, Phil Lynott…

For more: Reverb

Seymour Duncan 'Big Daddy' Philip Sayce Stratocaster pickup set

Philip Sayce returns for another signature Seymour Duncan set, this time recreating the unmistakable tone of his ‘Big Daddy’ Strat.

For more: Seymour Duncan

MixWave: Yvette Young

Yvette Young's first signature plugin, which might be the only assortment of ambient prog rock tones you'll ever need.

For more: MixWave

MXR Wylde Audio Zakk Sabbath

A limited-edition Wylde Audio Overdrive complete with a special purple-and-black finish inspired by Wylde's Zakk Sabbath band.

For more: MXR

• What's your favorite new gear release of the week? Let us know in the comments below.

Fender might have just unveiled the final piece of its Player puzzle by unveiling a spin-off lineup that takes the beloved entry level electrics in a radical new direction.

You know what you’re getting in for with the Player range, Fender’s entry level collection of Mexican-made electric guitars and bass guitars. The goal is simple: classic Big F silhouettes, sounds, and setups.

That’s not to say there isn’t potential to have a bit of fun, though. In 2024, for example, Fender took a deep dive into popular mods by way of the Player II Modified series. Now, the firm’s gone one step further.

Enter the Player Fusion series – an assortment of purpose built Stratocasters, Telecasters, Precision Basses, and even a Jaguar Baritone that go big on hot-rodded specs geared for hard rock, frills-free performance, and some gnarly looks.

Fender Limited Edition Player Fusion Stratocaster HSS ($1,149)

For my money, the Fender Player Fusion Stratocaster HSS is the most fusion-y out of all of them. That pickup configuration, for one, promises both hefty, high-output humbucking bridge action along with “surgical clarity” from the Noiseless single-coils.

The 12” radius ebony fingerboard is also a nice touch – especially for a Player series guitar – as is the all-black hardware and streamlined control layout, which offers Master Volume and Tone controls. There’s a two-point tremolo, a black headstock cap, and a choice of either Black or Olympic Pearl finishes.

That Black one is especially cool. It kinda looks like the meaner older brother of Tom Morello’s Soul Power Strat.

Fender Limited Edition Player Fusion Telecaster HH Floyd Rose ($1,399)

The Player Fusion Telecaster, meanwhile, really leans into the hard rock and metal design brief, what with the dual humbucker configuration and Floyd Rose bridge system. That’s not surprising, though, as Fender says this one is “built for the riff”.

Two humbuckers usurp the Tele’s usual SS combo, promising mix-cutting output and power. Again, all black hardware is used, as is a 12” ebony fingerboard. Black and Aura Metallic are the finish options here.

Fender Limited Edition Player Fusion Jaguar Baritone ($1,299)

The standout model of the Player Fusion lineup by a country mile, the Jaguar Baritone is an absolute peach of a guitar. With a 27” scale length, it’s purpose built for heavier playing, tuned B to B for drop-tuned riffing.

It’s got two high-output humbuckers, but retains a Jaguar-inspired switching system that ekes out a bit more versatility from the pickups. In practice, the ‘Spin-a-Split’ system can roll off the humbucker’s character, and make it more single-coil-y for leaner, more cutting tones

There’s also a TBX tone circuit, a 12” radius ebony fingerboard, and the choice of Black or Silverburst finishes.

Fender Limited Edition Player Fusion Precision Bass HH ($1,149)

Last up, the Player Fusion Precision Bass looks to elevate the P Bass template for a hard rock context. It’s equipped with two high-output humbuckers, a thin Jazz Bass neck profile for speedy playing, and that familiar 12” radius ebony fingerboard. Black and Halo Metallic are the finish options here.

More in-depth details are unfortunately rather sparing, because Fender isn't planning to release these until September later this year. I for one am looking forward to hearing more about those high-output pickups...

Visit Fender to keep up to date with its new releases.

You don’t need me to tell you that Fender has been in the news a lot lately – and not because of the guitars it’s building.

And it’s a shame, because the top-level legal wranglings threaten to overshadow the hard work of the company’s product teams, who have dreamed up five really quite exciting new Squier Paranormal models.

For everyone who moans that Fender treads out the same old Strats every year, the Paranormal lineup is the antidote, offering new twists on classic formulas or model mashups that have never seen the light of day.

Four new electric guitars and one bass make up the range: the Stratocaster Deluxe, Troublemaker Telecaster Deluxe Bigsby, Electric VI, Baritone Jazzmaster HH and Precision Bass Thinline SJ.

Squier Paranormal Stratocaster Deluxe ($479)

In my opinion, HS guitars are the best of both worlds: big, punchy tones at the bridge and warm, but not wooly, rhythms at the neck. The Stratocaster Deluxe delivers this combo via a Tele neck pickup with an alnico humbucker at the bridge, complete with coil-split on the tone control.

It’s a looker alright, with an oversized ’70s-inspired Strat headstock and skirted amp-style knobs.

Playability is pretty uniform with a satin-finished C-shaped neck, 9.5” radius fingerboard and vintage-style trem and tuners.

It reminds me a bit of the Pawn Shop ’51 from the early 2010s. But classier in its Vintage White, 3-Color Sunburst and Lake Placid Blue finish options. Just don’t copy its body shape, mmkay?

Squier Paranormal Troublemaker Telecaster Deluxe Bigsby ($509)

The Strat may be the troublemaker right now, but Squier’s sly nod to the Gibson Les Paul is one of its best-selling Paranormal models, and returns here with a Bigsby B50 vibrato. Again, it’s a dapper look, with a bound body in Black and Honey Sunburst finishes.

In another tip of the hat to Gibson, there are independent volume and tone controls, but these add coil-splits for each pickup via push/pull on the tone knobs.

Elsewhere, you get pearloid block inlays, bound laurel fingerboard, Adjusto-Matic bridge and a slim, satin C neck profile.

Squier Paranormal Electric VI ($509)

The Electric XII 12-string is one of Fender’s greatest cult creations, in part owing to its appearance on Led Zeppelin’s Stairway to Heaven. But for the Paranormal series, Team Squier asked: ‘What if it were a six-string, too?’

Enter the Electric VI: a six-string guitar with split-coil VI alnico pickups and a four-way rotary switch, spanning bridge, both pickups in phase, both out of phase, and neck only.

There are parts borrowed from other Fender designs, too: a Mustang-style trem, Coronado-inspired headstock and Electric XII-style control plate. The scale length is a shorter 24.75”, while finishes include 3-Color Sunburst and Daphne Blue.

Squier Paranormal Baritone Jazzmaster HH ($479)

This is arguably the most on-trend model in the lineup, as Squier (at long last) jumps on the heavy offset bandwagon. The 27” scale is made for B-to-B tuning, and paired with alnico humbuckers for added chonk.

In modern metal styling, the rest of the guitar is no-nonsense: three-way toggle, Adjust-O-Matic bridge and stopbar tailpiece, C-shaped neck and vintage-style tuners.

There’s a nice pair of finish options for this one: Oxblood and Seafoam Green.

Squier Paranormal Precision Bass Thinline SJ ($479)

Just the one four-string in this drop, but it’s a doozy: a lightweight semi-hollow take on the P-Bass, which features an unconventional SJ pickup combination: ’51 P-Bass pickup in the neck, and a Jazz Bass single in the bridge, controlled via a three-way blade.

The thinline construction may have you thinking this is only suited for a certain style, but that pickup combo seems destined for wider sonic plains.

Olive, Vintage White and 3-Color Sunburst are your color choices here.

All five Paranormal models are available now. See Fender.com for more.

Gibson Les Paul Standard sunburst reissues are perennial favourites for players and collectors alike. But how do you find a good one for a great price? We ask Julian White of high-end guitar shop World Guitars for his insider tips.

If you’re looking to buy a used ’Burst reissue, is there a ‘sweet spot’ year in terms of features, price and tone, based on what you’ve had in over the years?

Look for ones built from 2013 onwards. That was the big changing point for R8s and R9s. Gibson changed a lot of things and they became much, much better guitars, with new pickups – it was the start of the Custombuckers.

They completely rejigged everything, really, and started doing rolled edges on the fingerboards. It was a big change from the previous years. And that’s when all the excitement started – we sold a lot of those guitars in those first couple of years, 2013 and 2014.

Did that hot streak continue past 2014?

Come 2015 they stopped doing normal R8s and R9s because that was the year that True Historic came out. So they downgraded the normal ones with a short-tenon [neck joint] but these only lasted a year because they were essentially downgraded.

But after 2015, when they finished doing the True Historics, they went back to normal R9s, so that’s just something to be aware of if you want a long-tenon neck joint example.

And what about ’Burst reissues from just before the sweet-spot year of 2013?

So people were a bit funny about the 2012 model, because they used two-ply finger boards – it didn’t make any [functional] difference at all but sometimes you do see a two-ply fingerboards on the ‘Burst reissues from that year. The rosewood is two pieces laminated together.

What about the True Historic models that were the flagship reissues in 2015?

The True Historic models are the most accurate and the best [that Gibson have made], in my opinion. We sold a lot of them, and we saw a lot of them, and they were all brilliant. And, still to this day they haven’t topped that.

Double-carved necks, double-carved tops, thinner, hand-sanded finish, thinner headstock veneer… they had slightly different fret wire, which was vintage-correct. To my mind, they’ve never been bettered.

Are there any other year-specific features to look out for on ’Burst reissues?

In 2017 they started using all the True Historic [vintage-correct] plastics on everything, which was nice, but they didn’t do all of the other True Historic things. The rolled fingerboard edges on the 2017 guitars were nice – we sold a lot of those instruments.

Going back to 2016 specs, ‘R’ serial numbers were still being produced then. So it would say R9 [if it was a ’59 reissue] but the second number after the 9 would denote the year of manufacture. So R9 (or 8 if it was an R8) and then the second number, which followed that, was the year in that decade the guitar was built in.

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

There are always niche interests in any field and among guitar collectors it doesn’t get more specialised than vintage German archtops.

Most guitarists will be aware of Höfner and maybe Framus, but guitar making in Germany dates back to the early 19th century, with countless manufacturers producing archtops that spanned the jazz and rock ’n’ roll eras.

Renowned guitar collector and historian Cameron Brown recently co-authored a beautifully illustrated and thoroughly researched book, German Jazz Guitars – The Archtop Guitar In Post-War Central Europe. We spoke with Cameron to learn more about this significant but now overlooked period of guitar making.

New Bohemians

“The production of stringed musical instruments started in what was then Saxony during the late 17th century,” says Cameron. “During the 1600s, a group of instrument makers was kicked out of Schönbach in the German-speaking part of Bohemia.

“They settled 20km away in Markneukirchen, Saxony and established a guild of violin and lute makers. Over the next three centuries, their businesses prospered, and they turned to guitar making in the mid 19th century.

“The area was trading so much with the US that in 1893 the Americans opened a consulate in Markneukirchen, which, at the time, was rated the richest town in all the states of Germany, and that wealth came from musical instruments.

“When I wrote this book, I believed that archtop guitars were invented in America, but I’m now less certain. At least two German-made archtops have turned up dating to the turn of the 19th century, and there’s another earlier one from Mirecourt in France. These days I would be reluctant to say that Gibson invented the archtop.”

“In Germany, Otto Windisch was first to spot the increasing popularity of archtop guitars in dance and jazz bands. His company made Otwin guitars and he began producing archtops during the 1930s. Other German manufacturers soon followed, providing musicians with the type of guitar they couldn’t afford to import from America.

“My Viennese father-in-law was a mathematics teacher and a good jazz player. When he packed up playing, he gave me his guitar, which I discovered was made by Artur Lang, one of the three million German-speaking Czechs expelled in the 1940s from the Sudetenland. I thought it was a beautifully made instrument with a fascinating backstory. That’s when my interest in German archtops really began.”

“I speak fluent German, so I quickly got to know some of the collectors and manufacturers. I enjoy lively discussions with other enthusiasts because there’s a great desire to attribute these guitars.

“There were dozens of makers but many never used any branding. However, repairers would sometimes sign them, which can confuse things, and wholesalers such as Migma, Hopf, Taco and Herrnsdorf often had their names put on them. Pre-war UK importers gave them made-up names such as ‘Radiotone’ or ‘Martin Coletti’.

“Bracing patterns can help us to differentiate between the various manufacturers. The top braces are generally parallel or slightly splayed and positioned just inside the f-holes. Some braces peter out while others continue to the rims, and sometimes there’s a little cross-brace between them. Then there are guitars that have one long brace on the bass side, while others only have a central brace.”

Materials

“Before World War II there was an ample supply of tight-grained spruce from high-altitude German and Czechoslovakian forests. Germany had been flattened during the war and all that timber was needed for reconstruction. Instrument makers struggled to acquire materials and they used whatever they could get.

“Pre-war archtops were often hand carved. In the late 1940s, Wenzel Rossmeisl, the maker of Roger guitars, began to use machinery to carve the thick spruce used for his top plates, to speed up the process, although the recurve of the tops and backs were finessed by hand. Rossmeisl was also one of the first to use plywood and the three layers were often each a centimetre thick.

“He acquired a lot of lovely old piano mahogany after the war. This was used in his factory in Markneukirchen where they would machine-carve laminated tops with contrasting light and dark layers and finish the edges with a pronounced recurve, which became known as the ‘German carve’.

“Rossmeisl was imprisoned between 1951 and 1953 for selling guitars for foreign currency. The East German state proceeded to take over his factory, along with all the staff and tonewood stock to start the state-owned enterprise Musima.

“Rossmeisl’s son Roger was left with just the workshop and a showroom in West Berlin. By 1953 he was heavily in debt and fled to the US. Here he would go on to use the German carve when he worked at Rickenbacker and Fender. His father re-started Roger Guitars in West Germany in 1955.”

Rock ’n’ roll

“In Britain, we couldn’t obtain US dollars for non-essential imports until around 1961. That’s when Denmark Street started bringing in Fenders, Gibsons and so forth. Until then, Höfner was the biggest brand because Selmer had been selling them since the 1930s, but in my view the reason things went downhill was simply because all the 1960s rock stars were playing American guitars so that’s what young players wanted, too.

“Few of these German archtops feel modern; the necks are often very narrow and radiused so we can find them uncomfortable. You’re not going to pick one up to play Bach or shred, but they can sound wonderful and make good jazz guitars. The Germans tried copying American guitars, but the Japanese did it better and cheaper.

“The East Germans were even worse at it, but they did build some very esoteric showy instruments to brighten up their drab day-to-day existence,” says Cameron, before sharing, “Höfner was the last big name left, but they recently closed down and while it’s very sad, I’m surprised it didn’t happen earlier.”

Fortunately, the brand has since been saved by GEWA Music and Thomann – potentially launching a new era of German guitar building.

• German Jazz Guitars by Cameron Brown and Stefan Lob is published by Unicorn.
• This article first appeared in Guitarist. Subscribe and save.

Fender CEO Edward ‘Bud’ Cole has responded to backlash against the company’s ongoing cease-and-desist legal campaign in footage from a recent dealer event that has been shared online.

Last month, Fender came under scrutiny after it began sending cease-and-desist letters to rival firms in a renewed legal effort to enforce its rights to the Stratocaster.

The move stemmed from a default copyright ruling that Fender secured in Germany earlier this year, which Fender says established “enforceable rights against any guitars using the Stratocaster body shape”.

LsL Instruments, a family-owned boutique builder based in the US, was one of the first companies to publicly confirm it had been hit by a cease-and-desist. PRS – the maker of John Mayer’s Silver Sky signature – later confirmed it also had received one.

During a recent dealer event, Cole addressed the considerable backlash that Fender’s strategy has faced. Footage from the event has since been posted online.

“First and foremost, Fender is not suing anybody,” Cole begins. “What we’ve done is reach out thoughtfully and respectfully to a handful of companies whose guitars come extremely close to replicating the iconic Fender Stratocaster design.

“Let’s also be very specific. We’re talking specifically about the Stratocaster, because that’s what this is really about. Calling it simply the S-style or the S-shape is an attempt to diminish and whitewash the immeasurable game-changing contribution that Leo and his team made to the entire industry that all of us have built so much of our success and careers around.

“A contribution that has blessed every single one of us in this room, and millions of players around the world. We are not going to let the legacy be erased, nor are we going to let it be diluted.”

Later on in his speech, Cole also addresses some of the key points of contention from the cease-and-desists – namely, the paragraph in Fender’s initial letter that states rival firms found to be infringing on the Stratocaster design will face inventory destruction.

“Our preference is practical, reasonable solutions,” he says. “Design modifications where needed, generous transition periods to sell through existing inventory.

“No inventory destruction. Those comments were unfortunate. We are not asking anyone to destroy inventory,” Cole asserts. “No immediate financial demands. This is a work in progress.

“We want to work together with everyone, because we believe that innovation is strongest when brands create their own distinctive voices rather than closely copied icons that have defined our industry for generations.”

The attempt to downplay any punitive measures from Fender echoes an earlier statement shared by Guitar World, in which it stated: “Outcomes such as inventory destruction are not something we are seeking.”

Cole also touches on the scope of Fender’s legal campaign, saying, “It's important to understand that this effort stems directly from the recent European Union's court rule,” he notes. “So, our current conversations are centered on products being made, marketed or sold in the European Union, not here in America.

“Fender has no intention of going after artists, players, collectors, or anyone who simply loves to make music,” Cole notes. “To the contrary, we are protecting those players who play Fender, who buy Fender, who love Fender, who collect Fender, and who continue to invest in Fender.”

The full speech can be viewed above. At the time of writing, Fender’s second deadline for guitar builders to respond to its cease-and-desists has passed (8 June). We'll bring you further developments on the case as we have them.

After years of anticipation, Dime Guitarz has been officially launched by the man who built Dimebag Darrell’s most cherished guitars – and it’s promising to bring his iconic electric guitars into the modern era.

The collaboration between Dimebag’s trusted luthier, Dean Zelinsky, and the late guitar great’s girlfriend and estate trustee, Rita Haney, has a simple mantra: “To build the guitars Dimebag Darrell would be playing today.”

Throughout his life, the Pantera legend played a host of guitars made for him by luthier Dean Zelinsky, including the Dean ML from Hell – the pointed signature guitar with which Dimebag was most fondly associated.

When financial problems led Dean to cease production in the mid ‘90s, Dimebag moved to Washburn, where he continued to produce ML-style electric guitars before re-signing with a revived Dean just before he died in 2004.

In recent years, the relationship between the Dimebag estate and the current owners of Dean Guitars, Armadillo Distribution Enterprises, has soured considerably. Haney sued Armadillo in 2021, citing unlawful use of the Stealth and Razorback designs.

The most recent court ruling swung in Dean’s favor, but Haney soon responded, saying she would continue to “fight for the return of Dime’s guitars.”

So, the launch of Dime Guitarz, just days after Dean’s owners filed for bankruptcy, couldn’t be more timely. And the firm has come out swinging.

“There seems to be a misconception that Dime had a relationship with the Dean Guitars of today,” Haney says in a statement. “It simply isn’t true. He was killed three weeks after signing the deal. He had a relationship with Dean Zelinsky. That is who he wanted building his guitars.”

Dime Guitarz, then, sees itself as the rightful home of the ML-style guitar, and its launch comes some 15 months after the first model, the Culprit, was teased. With a rare design masterminded by Dimebag before his death, it was first teased back in March 2025.

Here, the Culprit comes in USA and Standard Series variants, ranging from $1,999 to $5,999. Both guitars pair mahogany bodies, flame maple tops with three-piece maple set necks, and 22-fret, 12-16” compound radius ebony fingerboards.

Of course, there’s Floyd Rose 1000 series tremolos, too, along with Grover-style tuners, with Seymour Duncan Dimebucker and ’59 pickups. They’re wired with a DimeBooster, which adds 15dB via a push/push Tone pot.

The most eye-catching feature, though, is the patented laser-engraved Z-Glide neck, which is designed to reduce surface friction by 72%, keep hands cool, and encourage lightning-fast shredding. It is, though, exclusive to the USA models.

A razor blade inlay at the 12th fret and some classic Dimebag-coded finishes, including Dime Slime and Dimebolt – the latter of which pays tribute to the iconic Dean From Hell – complete the look. Oh, and of course it has that classic winged headstock design.

“Dime played Dean Zelinsky’s MLs when he had braces on his teeth, and he died with one in his arms,” the statement continues. “Dime’s innovation for tech, his love and trust of DZ’s brilliance, this is what the direction of this company is, to fulfill those wishes”

“After everything I’ve accomplished in this industry, helping carry Darrell’s legacy forward may be the most meaningful work I’ve ever done,” Zelinsky adds.

See Dime GuitarZ for more.

Also known as the ‘CadillacCaster’ this midas-touched example of James Trussart’s unique luthiery has, like so many guitars, a close connection with automobiles.

When the American car-maker Cadillac launched its electric-powered ‘LYRIQ’ SUV, Trussart designed a guitar that matched its luxurious styling, which appeared in ads for that vehicle.

The lustrous finish that clads this (almost) one-off instrument isn’t a metallic paint but 24-carat gold-plating, which extends even to the 10-46 set of 24-carat Optima strings, lending the CadillacCaster an opulent gleam.

Tim Lobely, the man behind the Cream T guitar brand and Liverpool-based guitar retailer Sound Affects, where this guitar is currently for sale, spotted the guitar at the last NAMM show in Anaheim and had to have it as a centrepiece of Sound Affects’ wide-ranging stock of premium guitars, he says.

“It was the nicest guitar at NAMM, in my opinion,” Tim says. “I’ve known James Trussart for a number of years, and talked to him about it, and he said that basically he’d made two.

The first one appeared in a Cadillac advert, and he sold that privately without ever going to the market. So he made another one so he could put it to the open market and display it for NAMM. I sort of circled it for a couple of days, but kept going back, and after a bit of haggling I got it for Sound Affects.”

It’s little wonder that Tim found the guitar difficult to walk away from as its hand-crafted features extend well beyond the finish. The fretboard inlays, for example, are polished brass blocks.

“Quite a lot of the customers who come in are quite drawn to the inlays,” comments Sound Affects’ director Paul Bannister. “They do look unique, and they do stand out,” he says.

Despite the massy connotations of gold, thanks to its lattice ‘cage’ construction, the guitar is surprisingly lightweight at a little over 8lbs (3.6kg) – and the contrasts continue with the grey-stained maple neck, which has a Fender-style 25.5-inch scale length but a profile that’s “not really overly chunky, but it’s not thin either,” Paul says, “It’s probably similar to a Gibson Les Paul neck,” he explains.

The guitar’s wiring for its pair of custom-wound pickups by US maker Arcane, is visible through the lattice-style body of the guitar. The switching options aren’t especially complex, Paul explains, but there is a push-pull pot that operates a coil-split for the neck humbucker. If striking gold appeals to you, there are few guitars more striking than this gleaming pinnacle of Trussart’s metal mastery.

• Find out more at James Trussart Custom Guitars.
• This article first appeared in Guitarist. Subscribe and save.

Charvel is celebrating its Californian heritage with two new American Neo-Classic Superstrats that mark the company's long-awaited return to the Corona factory for a production run series.

The range offers two slick-playing, maple fretboard electric guitars that hark back to the firm’s origins as a SoCal repair shop, with hardtail and Floyd Rose variants on tap.

At its heart is the ultra-versatile Seymour Duncan JB/59 pickup pairing with parchment bobbins, as well as a one-piece quartersawn maple neck “carefully reproduced from authentic 1980 specifications” and brought up to speed with graphite reinforcement.

Both guitars feature alder bodies, with their 12-16” compound radius fretboards getting rolled edges, natural satin finishes, and 22 jumbo stainless steel frets with Luminlay side dots.

The SD1 HH FR offers a Floyd Rose 1000 Series trem with locking nut and retainer bar, while the HH HT variant swapping that out for a Charvel hardtail bridge. Controls, in true 1980s fashion, are cut down to just a Master Volume as these guitars stay true to the original Charvel speed merchant template.

And what ‘80s-minded build is complete without an eye-catching finish? The Floyd Rose-laden SD1 HH FR comes in Robin’s Egg Blue, Ivory Blitz, Gloss Black, and Racing Red.

Gloss Black, Racing Red, Velvet Midnight, and Ivory Blitz are on offer for the SD1 HH HT.

The hardtail model clocks in at $2,749, with the Floyd Rose version seeing a small price bump to $2,799, meaning these aren’t exactly bargain-basement builds.

Still, considering they are American-made and brimming with top-end specs, they were always going to break the $2K barrier. What's more, the spiritual homecoming will no doubt be cause for celebration for Charvel fans.

In recent years, Mexican- and Korean-made models have been dominating the Charvel lineup, with only the premium Custom Shop USA Select models heralding from the California factory.

A USA-made production run Charvel has been a long time coming, and we expect to see more in the not-too-distant future.

We also have to give Charvel top marks for having Dweezil Zappa shred in a skate park for the promo video. That’s undeniably cool.

“The American Neo-Classic San Dimas is a direct line back to where it all started, the shop, the craft, the obsession with making instruments that players actually want to play,” says Jon Romanowski, VP of Product, Charvel.

“Building it in Corona feels like coming full circle.”

See Charvel for more.

Dean Guitars’ parent company, Armadillo Enterprise, has filed for chapter 11 bankruptcy, it has been announced.

Armadillo Distribution Enterprises and Concordia LLC, the intellectual property holding company for Dean Guitars, Luna Guitars and ddrums, have voluntarily filed jointly under Chapter 11 of the United States Bankruptcy Code in the Middle District of Florida.

Notably, a Chapter 11 filing does not mean the company is going into liquidation. Unlike a Chapter 7 filing, which winds down operations, this route instead involves a court-supervised reorganization that will allow Armadillo and Concordia LLC to restructure their financial obligations.

It will also mean both companies – and by extension, Dean Guitars – will be continuing normal business operations while the restructuring takes place.

Pamela Keris, Armadillo owner and CEO, said the decision to file for bankruptcy was “a proactive step to strengthen our financial foundation and position these iconic brands for long-term success”.

“Resolving the financial pressures of recent years allows us to focus fully on growing what we've built,” she says. “We remain fully committed to our customers, our dealer network, and our employees. Dean, Luna, and ddrum are strong brands, and this process will allow us to emerge as a more resilient organization.”

A press statement adds, “The Companies have filed customary first-day motions seeking court authorization to continue paying employee wages and benefits and to maintain vendor and dealer relationships without interruption.

“Armadillo wishes to assure both its retail and consumer partners that all existing orders, dealer relationships, and customer commitments will continue to be honored without interruption.”

In court filings available online, Armadillo has estimated assets listed between $1 million and $10 million, though its estimated financial liabilities are between $10 million and $50 million.

The filing comes off the back of some trying times for Armadillo and Dean Guitars, which have been embroiled in internal disputes and high-profile lawsuits over the past few years.

In 2023, two separate lawsuits alleged Armadillo was liable for nearly $10 million in debt, leaving the firm’s fate in the balance. At the time, one of its lenders, Valley National Bank, attempted to foreclose on Armadillo’s debts.

As per the bankruptcy petition recently filed, Valley National Bank currently holds an unsecured claim of around $3.3 million.

That’s not to mention the various copyright wrangles it’s had with Gibson over the years. In 2025, a federal jury backed Gibson in an infringement battle that rejected Dean’s use of the Flying V, Explorer and SG body shapes.

More recently, Dean Guitars has been wrapped up in a legal dispute with Dimebag Darrell’s estate over breach of contract and trademark dispute of the Stealth and Razorback designs. Though it ultimately emerged victorious, it could be facing an appeal.

Given the scope of its potential liabilities, it remains to be seen how exactly the future of Dean Guitars will pan out. That said, the firm is steadfast in its assertion that this bankruptcy filing is a necessary step towards a more secure and stable future – one that will not only benefit the company, but also fans of Dean Guitars, too.

Armadillo Distribution Enterprises has been approached for comment.

Epiphone has paid tribute to one of Alex Lifeson’s most iconic electric guitars by releasing a reissue of his 1976 ES-355.

In Lifeson’s arsenal of Rush guitars, his Alpine White ES-355 is up there as perhaps the most significant. It featured on almost every Rush album, serving as Lifeson’s main guitar in the studio and on the stage for decades, until it was sold at auction for $384,000 in 2022.

The original was custom-built for Lifeson, and when the auction of the ES-355 was announced, the Rush guitar hero dubbed it “the iconic Alex Lifeson guitar”.

Now, a year after Lifeson teased an Epiphone reissue was in the works, the Epiphone Inspired by Gibson Custom 1976 ES-355 Reissue has officially landed just in time for the Rush reunion.

It hasn’t got the natural wear and tear of the source material, instead arriving pristine out the factory exactly as Lifeson’s original would have all those years ago.

That means the flawless Alpine White colorway looks the absolute business, and when paired with all the Lifeson-specific specs, it makes for one helluva nice Epiphone guitar.

It has a three-piece maple neck that mirrors the original, as well as a five-ply semi-hollow body composed from maple and poplar, with a solid maple centerblock for added sustain.

More tactile appointments include the harmonica-style Tune-O-Matic bridge and Maestro Vibrola, as well as a pair of gold-covered, USA-made Gibson T-Type humbuckers. There’s also the mono Varitone switch, and a few more modern refinements such as the Graph Tech nut.

Finishing touches include mother-of-pearl block inlays on the 22-fret ebony fingerboard, and the Gibson Custom-style split diamond inlay on the open book headstock.

“The ES-355 has always been a really special guitar for me – it’s got this incredible balance of elegance and power,” says Alex Lifeson. “What I love about this Epiphone “Whitey” recreation is how faithfully it captures that original spirit while still feeling fresh and alive in your hands.

“It’s a guitar that invites you to explore, to take chances, and to find your own voice. I’m genuinely thrilled that players everywhere will have the chance to experience it and make it part of their own musical journey.”

The Epiphone Inspired by Gibson Custom 1976 ES-355 Reissue is available to preorder for $1,499.

Head over to Epiphone to find out more.

The Epi arrives just in time for Rush’s hotly anticipated reunion tour, which kicked off over the weekend at the Kia Forum in Los Angeles. The show was one of the band’s first official outings with new drummer, Anika Nilles.

It was a set filled with double-neck guitars, deep cuts, and signature amp modeler pedals, as well as a cameo from an unexpected Metallica signature guitar.

PRS is serving up a signature guitar with a twist by bringing to life the guitar played by an anime character.

Lilisa, of Rock is a Lady’s Modesty, becomes a surprise addition to PRS’s artist roster, joining John Mayer, Herman Li, and Ed Sheeran with a real-life electric guitar that recreates the pink six-string she wields in the TV show and manga series.

Created as a manga series by Hiroshi Fukuda, Rock is a Lady’s Modesty became a smash TV hit last year, and PRS has capitalized on its popularity by turning fiction into reality.

Consequently, the actual PRS SE Rock Lady is based on both Paul's Guitar and the signature that PRS made for BAND-MAID’s Kanami Tōno in 2024, maintaining the tried-and-tested mahogany body, maple neck, and rosewood fingerboard tonewood trio.

Beyond that, it boasts a Pink Pearl top, black headstock face, natural back, and purple-toned pickup bobbins. The inclusion of PRS’s trademark inlays is the biggest deviation from Lilisa’s guitar.

There’s a promise of “spanky tones and soapbar sounds” from its TCI “S” treble and bass pickups. They’re paired with a three-way toggle switch and dedicated mini-switches to coil-tap the two pickups, for a total of eight pickup combinations.

Elsewhere, its Stoptail bridge features specially curved slots with brass inserts, which are said to ensure optimal string contact and bolster resonance. See too vintage-style tuners and a lily decal on its truss rod cover.

“This project has been one of the most creative, out-of-the-box things we have done in a while,” says PRS COO, Jack Higginbotham. “Developing a guitar with a fictional artist is not something we do every day. It has been a lot of fun, but this is far more than a commemorative display piece – it’s a true player’s guitar, designed for performance and durability.”

Notably, Kanami wrote the TV show’s theme tune and performed it with her BAND-MAID bandmates. They also provided motion capture for the show to make performances look hyper-realistic.

The PRS SE Rock Lady is limited to 690 pieces and is available now for $999.

Check out PRS for more.

In related news, PRS recently dropped a second signature baritone guitar for Ed Sheeran.

Two years after reviving the Victory, Gibson is finally succumbing to player demand and releasing a version with a Floyd Rose.

The original guitar was designed in the 1970s, but was quietly discontinued as it did little to earn a place at the Gibson – or the wider electric guitar – high table. All that changed in 2024 when Gibson resurrected the design and revamped it for the modern era.

The Victory Floyd Rose, then, will be welcome news to many, as it further leans into that Superstrat aesthetic, with the Floyd Rose ideal for whammy bar acrobatics and dive bombs galore à la peak Eddie Van Halen.

Coming out of Gibson’s Nashville factory, it pairs a mahogany body and a figured maple top with a shredder-friendly SlimTaper mahogany neck with a 10-14” compound radius and 24-fret ebony fingerboard, crafted to a 25.5” scale length.

Given that the majority of Gibsons are made with slightly more stunted 24.75” scale lengths, this empowers the Victory Floyd Rose for drop tuning, meaning it can handle more modern and heavier styles.

Further specs include a GraphTech nut, Grover Mini Rotomatic tuners for its Explorer-style headstock, and black Top Hat control knobs, with one each for Volume and Tone.

The three finishes, comprising Iguana Burst, Translucent Ebony Burst, and Deep Ocean Burst, all come with zebra-style 80s Tribute humbuckers and a three-way toggle switch.

The twin ‘buckers are wired with push/pull controls for coil splitting and selectable inner/outer coil options when split.

Gibson never truly ingratiated itself in the 1980s shred guitar scene. The Victory was its closest, albeit short-lived, attempt at gatecrashing a party dominated by the likes of Charvel and Kramer. This feels like the Victory is now getting the love it deserves, and Gibson is handling its creation with care.

“In Nashville, these tonewoods are shaped and refined using a blend of traditional techniques and modern precision, ensuring every carve, contour, and curve contributes to the guitar’s voice,” it says.

“The result is an instrument as unique as a fingerprint, built to be played, pushed, and ultimately passed down.”

This version has been a long time coming, too. "It quickly became one of our more popular models, but we have regularly heard players request one change: 'Can you add a Floyd Rose tremolo?'" Gibson notes. "Well, ask, and you shall receive."

The Gibson Victory Floyd Rose is available now for $2,799/£2,399.

See Gibson for more.

Gibson has also teased seven-string guitars and baritones are in the works, so perhaps the Victory will be getting another glow-up very soon.

If Fender’s cease-and-desist campaign against manufacturers of S-style guitars feels familiar, that’s because it is. We have been here before.

Over the years, Fender has spilled considerable treasure in trying to win legal protections for its most iconic designs. The most infamous of such rulings arrived in 2009, bringing an end to five long years of litigation in an attempt to trademark the body shapes of the Telecaster, Stratocaster and Precision Bass – and it was bad news for Fender.

The Trademark Trial and Appeal Board (TTAB) of the United States Patent and Trademark Office ultimately ruled that the shapes were now “generic” instrument designs. Furthermore, despite more than 20,000 pages of evidence being considered, Fender had not established “acquired distinctiveness” over the two-dimensional outlines of the body shapes.

Fender had argued that the shapes were famous as Fender designs, that consumers associated them with the brand. It presented survey evidence.

Press cuttings were submitted, such as Rolling Stone’s ‘American Icons’ feature in its 35th Anniversary Special issue, which described the Stratocaster as “rock ’n' roll’s ultimate guitar” that “looks and sounds like America”.

The TTAB didn’t agree. It rebutted this evidence, citing Fender’s own advertising materials in the mid and late ’80s, notably one advert in the August 1986 issue of Guitar Player – “There’s only one Eric Clapton. And only one Fender” – and a 1988 ad in Guitar World that read, “You’re not taken in by look-alikes or by wild claims”.

That Fender was addressing the fact that countless manufacturers were making Strat-style copies, and that its strategy to counter these rivals was through marketing and not the courts, suggested that it recognized that guitar players understood the market for these guitars and could already distinguish a generic S-style from a real Strat.

Everyone will have their own opinion on that, and that is what makes the 2009 case so fascinating. It is instructive, throughout the case documents, just how the public’s perception of these designs figures in the arguments for and against trademarking these body shapes – and also how Fender has looked to shape these perceptions through marketing its products.

“It is clear from this record that guitar consumers in the United States have been exposed to a multitude of the Strat, Precision Bass and Telecaster body shapes, either as complete guitars or as guitar parts, coming from and being associated with third parties,” said the TTAB.

“The evidence overwhelmingly demonstrates that these configurations are so common in the industry that they cannot identify source.”

The TTAB even cited the Random House Dictionary of the English Language Unabridged as an example of how popular culture perceived the Strat body design as generic.

“In fact, in the case of the Stratocaster body outline, this configuration is so common that it is depicted as a generic electric guitar in a dictionary,” read the judgement.

In the 2009 case, Fender found its trademark application being opposed by a large group of manufacturers including Spector, ESP Guitars, Peavey Electronics, U.S Music Corporation and Lakland Musical Instruments, all represented by Ron Bienstock.

Notably, as Guitar World reports, Bienstock has been hired once again to represent at least one of the companies in receipt of a letter from Fender’s lawyers. It may well face similar opposition once these developments reach a court.

Given this isn't Bienstock's first legal tangle with Fender, he is uniquely positioned to defend those companies who have been targeted. In a response letter served to Fender on behalf of one of his clients, he highlighted the ways in which he believes Fender’s legal campaign is doomed to fail.

However, none of this means to say that Fender actually will lose again. Fender has been successful before in protecting its trademarks, most notably in the mid ’90s when it won legal protection for its headstock shapes.

This application was similarly opposed by a number of manufacturers, and as a result, aftermarket manufacturers such as Allparts and Warmoth Guitar entered into licensing agreements with the Fender that allowed them to sell “replacement necks” under a number of conditions.

There could be no brand insignia on the necks (the Warmoth turtle was out), no text at all, and they had to be sold separately as replacements, and not as part of DIY kits or finished guitars.

Fender’s most recent legal victory is the catalyst for the latest developments. In March, the Regional Court of Dusseldorf, in Germany, ruled that the Fender Stratocaster was a copyrighted work of applied art under German and EU law.

The case was brought against Chinese manufacturer, Yiwu Philharmonic Musical Instruments Co., which was then ordered to cease manufacturing, offering or distributing guitars featuring the Stratocaster body shape in Germany and the EU.

Yiwu did not attend the hearing, meaning Fender faced no challenge and was the victor by default. Fender’s legal team seems to have then used the momentum of the ruling to issue the cease-and-desists to other firms. The question will be how much bearing this European ruling will have in a US court.

The difference this time, of course, is the nature of the dispute. In 2026, Fender isn't seeking to establish a trademark for a raft of its electric and bass guitar body shapes, but is instead using copyright as a way to ensure enforceable legal protection for the Stratocaster design as a work of art, akin to a piece of music or literature.

The case here, then, isn’t concerned with whether Fender can disprove the Strat body shape specifically is generic to establish a trademark. Rather, it is about whether the company can argue the Strat shape is not simply about function, but instead represents genuine creative achievement and distinction – and that those served a cease-and-desist have infringed upon this.

In contrast, what is notable about the 2009 ruling is the testimony from Spector, Lakland, Warmoth, Peavey et al that argued the sheer ubiquity of these body shapes since the '70s had contributed to the Strat, Tele and P Bass as being generic.

There were thousands of guitars with Stratocaster body shapes, thousands of Precision Basses. Their argument was that no-one could look at the body shape and determine it was made by Fender.

“They have become traditional shapes over the last 50 years and these shapes are made by hundreds, maybe thousands of companies,” said Hartley Peavey, owner of Peavy Corp. in his testimony.

Matt Masciandaro, president of ESP Guitars, also argued that the Strat was a “generic” body style that had been in production from countless manufacturers for 50 years, and that the market for guitars and consumers understood this.

“And we’ve been making it for 20 years in the United States… The people we deal with and our customers have grown up in a market where these shapes have been made by every manufacturer that they see, whether it’s in a store or on a stage, all making a similar shape to this... Every company makes it.”

They argued that Fender was trying to put the toothpaste back into the tube. The TTAB agreed. Whether the copyright approach will work for Fender in its 2026 attempt remains to be seen.

What is it?

What once seemed like a radical new thing, now 11 years on Revstar – Yamaha’s first new guitar line-up in more than a decade – has stayed the course. No mean feat in today’s fickle guitar market.

Okay, the range was completely overhauled four years ago, but the original Café Racer inspiration was retained, and while plenty of us enjoyed the earlier models, it seems that the Mk IIs are, well, just a bit more grown up.

These new guitar designs brought in fresh technology in terms of a passive transformer-based Focus Switch midrange boost, and a slightly larger body created with Yamaha’s Acoustic Design process, which results in a mildly chambered structure designed to attenuate and/or amplify specific frequencies.

Graphite strengthening plays its part in the chambered bodies (Japanese models only), while dual graphite rods are slipped into the neck of both Japanese and Indonesian levels with the exception of the start-up Element models.

Then there are the processes we seem to have been writing about for some years. The Japanese guitars, once assembled, go through Yamaha’s IRA (Initial Response Acceleration) procedure, which Yamaha says is “a process in which the instrument matures and opens up as the stresses between the wood and finish, neck and fingerboard, and body and hardware are released, resulting in better sound and playability”. This, in our experience, ekes out a few extra per cent in terms of sound and performance.

But close on the heels of the new generation Revstars we saw the return of the good ol’ Pacifica, which hadn’t really gone away but was lacking a little up-to-the-minute design. The resulting Pacificas from 2024 and their SC (T-style) models, which were launched at the start of the year (and featured in our last issue) are certainly making waves for their intelligent, modern and very player-centric design.

But what’s next? Well, also at this year’s NAMM Show, apart from delivering that killer Pacifica SC punch, Yamaha took the wraps off the stylish Yamaha 60th Anniversary Revstar, the RSP20B 60th and the Chris Buck RS02CB. Two new Revstars with rather different aims and prices. Let’s take a look.

Specs

Yamaha 60th Anniversary RSP20B

• PRICE: $3,699 | £2,403 | €2,299 (inc case)
• ORIGIN: Japan
• TYPE: Double-cutaway, solidbody electric
• BODY: Chambered 2-piece mahogany with thin flamed-maple cap and graphite reinforcement
• NECK: 3-piece mahogany with carbon graphite reinforcement, glued-in
• SCALE LENGTH: 629mm (24.75”)
• NUT/WIDTH: Bone/42.5mm
• FINGERBOARD: Single-bound rosewood with pearloid bar inlays, 304mm (12”) radius
• FRETS: 22, jumbo stainless-steel
• HARDWARE: Tune-o-matic-style bridge with Göldo G5 vibrato tailpiece, Gotoh SG301 MG-T tuners – gold-plated
• STRING SPACING, BRIDGE: 52mm
• ELECTRICS: Yamaha VH5B (bridge) and VH5N (neck) Alnico V loaded humbuckers, 5-position lever pickup selector switch, master volume, master tone
• WEIGHT (kg/lb): 3.86/8.49
• OPTIONS: None
• RANGE OPTIONS: The other MIJ Professional models (all at £1,599) are the twin-humbucking RSP20 and the RSP20X in Rusty Brass Charcoal, and the RSP02T
• LEFT-HANDERS: Not this model
• FINISHES: Noble Black Burst (as reviewed) – gloss polyurethane body with satin polyurethane neck back

Yamaha RS02CB Chris Buck

• PRICE: $1,299 | £1,254 | €1,199 (inc gigbag)
• ORIGIN: Indonesia
• TYPE: Double-cutaway, solidbody electric
• BODY: Chambered, thin maple cap
• NECK: 3-piece mahogany with carbon graphite reinforcement, glued-in
• SCALE LENGTH: 629mm (24.75”)
• NUT/WIDTH: PPS/42.3mm
• FINGERBOARD: Single-bound rosewood with pearloid bar inlays, 304mm (12”) radius
• FRETS: 22, jumbo stainless-steel
• HARDWARE: TonePros AVT2 wraparound bridge, die-cast tuners – nickel-plated
• STRING SPACING, BRIDGE: 52mm
• ELECTRICS: Yamaha VP5b (bridge) and VP5n (neck) Alnico III loaded soapbar single coils, 3-position lever pickup selector switch, master volume, master tone
• WEIGHT (kg/lb): 3.52/7.74
• OPTIONS: None
• RANGE OPTIONS: The Revstar range kicks off with the Element models (£439). The Standards (£659) come with dual humbuckers or soapbar single coils, graphite neck reinforcement and wide colour choice
• LEFT-HANDERS: Element RSE20L (£439) and Standard RSS20L (£659) with humbuckers
• FINISHES: Honey Gold (as reviewed) – gloss polyurethane body with satin polyurethane neck back
• CONTACT: Yamaha

Build quality, usability and sounds

If you need proof that Yamaha makes exceedingly good guitars, then take this 60th for a spin. There’s an angular elegance to the Revstar design, not least in this tuxedo celebration style. The Nobel Black finish is solid gloss all over the body with the exception of the bass side where it fades to a light grey and – rare on a Revstar – you can see the thin and only lightly figured maple top.

The cleanly single-bound top edge of the body really defines the outline; there is a light forearm chamfer to the otherwise flat top, and on the back, where the edge radius is larger, we also get a sizeable chamfer reducing the bulk of the 42mm-thick body.

What we can’t see is the complex chambering to the mahogany back under that maple top, or the dual graphite rods. And while any chambering will reduce weight, that’s not Yamaha’s primary aim: it’s all about tuning the frequency response and that includes the dual carbon graphite rods in the maple neck.

“Both the carbon rods in the neck and body help eliminate unwanted boomy bass frequencies,” said Yamaha’s manager of Guitar Development, Takashi Yamashiro, when we evaluated the redesign in 2022. “Even with the chambering, we’d like the body to vibrate not as a typical semi-hollowbody but more likely as a solidbody.

“With the carbon rods around the bridge, it stabilises the body vibration, eliminates unwanted bass and elevates the midrange. The neck rods increase the stability for sure, but with the well-calculated design of the neck and body, the guitar could get a well-coupled vibration between them.”

There’s no chance of seeing the three-piece mahogany of the neck, either, as it’s black-painted, a contrasting satin to the body’s gloss. There’s a light point to the body heel and a slight volute behind the nut on the classy back-angled three-a-side headstock.

Like the body and headstock, the rosewood fingerboard is single cream bound, with split bar inlays – and, to be honest, our only concern is the chunky stainless-steel frets. Why? The ends have been left fairly angular, as if there’s still another process to go to round them.

There are no complaints about the hardware here, though. Gotoh’s rear-lock tuners have a very positive feel and look pretty classy, too, while the Göldo G5 vibrato is a typically improved Bigsby-style piece, with easier stringing, a super-smooth feel and the 360-degree rotatable arm that can be set exactly how you want. The tune-o-matic bridge lightly rocks as the vibrato is moved and once the new strings settled tuning stability is solid, they feel liquid. Superb.

At pretty much bang-on half the cost of the 60th model, the long-awaited Chris Buck drops the celebratory style and gets right to the point. It’s based on the Indonesian-made Standard RSS02T with quite a few changes.

The maple-topped, chambered mahogany body (without graphite rods) and the three-piece mahogany neck with its carbon reinforcement are retained, but the first change is the tune-o-matic bridge and vibe-y ‘racing tailpiece’ are ditched in favour of a Tone Pros AVT2 wraparound.

The VP5 soapbars get a magnet swap from Alnico V to III, while the chromed metal knobs are switched to old-school amber top hats. There’s no truck with Yamaha’s high-pass Dry Switch or Focus Switch passive boost extras, and the pickups are simply selected on a three-way lever. Oh, and aside from the split-bar inlays that actually look like a pearl, rather than the duller pearloid of the standard models, that’s it.

Now let’s get the difficult bit over, shall we? These changes basically double the price of the Chris Buck model over the standard Standard RSS02T.

Revstar has quite a specific feel, not least these Mk II versions with their slightly wider, flat-front bodies almost summoning a less chamfered Gibson SG or a lightly offset version of Yamaha’s own SG classic. The scale length and playing feel are more Gibson-like, of course, and with pretty trim weights, good strapped-on or seated balance, these are easy guitars to get accustomed to.

From the instruments we’ve tested, the neck shapes have been pretty consistent, and these two are a little different. There’s a slightly more Fender nut width of 42.4mm here with a depth that averages 21mm at the 1st fret, 23.5mm by the 12th. The profile is quite distinct, though – a slightly flat-backed shape with noticeable shoulder – and both these 2026 guitars feel identical to our earlier 2022 Standard reference.

We mentioned the slightly sharp-feeling fret ends, and our earlier model is noticeable in that its fret ends are really nicely domed by comparison. They feel great, though, with good height and are really bend-friendly.

There is some difference playing these unplugged. While both have a strikingly similar evenness and smoothness to their character, the 60th does sound a little fuller. But both are working in a similarly lively manner: vibrant and quite alive.

The 60th isn’t shooting for anything particularly contemporary when it comes to the sounds we hear plugged in. In fact, the only lightly potted humbuckers seem to nod back to the late ’50s and give the guitar a pretty classic voice. No complaints there, certainly in positions 1, 3 and 5 on the five-way lever (bridge, both and neck).

Overall, the 60th is a little fuller and thicker than our RSS20, for example, which is spec’d with the same VH5 humbuckers (with similar DCRs), but the Professional Japanese level of the 60th clearly sounds, well, bigger.

Still, there’s plenty more here: those position 2 and 4 sounds certainly capture some of the classic ‘in-between’ single-coil sounds, useful played clean and funky or to add another gained texture for lead lines.

Meanwhile, the pull-switch Focus Switch adds thickness and level boost, which isn’t overdone in terms of level. The vibrato obviously adds to what we hear and create, not least with a big clean sound that the 60th actually excels at. Add big ’verbs to taste.

Verdict

Verdict: ★★★★½

While our second Revstar did need some attention in the setup and intonation, sounds-wise the Chris Buck is rather special. Neither soapbar is overwound – in fact, our pair has the same amount of wire. And this is less the aggressive midrange of a hotter Gibson Junior or Special; it’s a little more refined, more jangly, more traditional single coil.

But that’s not to say it doesn’t have some poke and nose. A little level boost and pull the tone back slightly and you’re there. The neck sounds quite Patent Applied For-like, that lovely fatter single-coil voice, and the mix position is standout with beautiful sparkle, hollowed depth and all the bounce you’ll need.

Guitar World verdict: It’s not just the pickups, of course, these Revstars are good-sounding guitars – there’s that smoothness that underpins the sounds we hear, plus the pickups, again, aren’t over-potted and have some attractive and lively ‘clonk’ to them as you wind up the wick. Shame about the supplied setup, but with that sorted, this is a very valid, almost stripped-down Revstar with a classic-aimed voice.

Hands-on videos

Chris Buck

Trogly's Guitar Show

Guitar Guitar

Robbie Calvo

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

Lou Reed and Danny Gatton aren’t two names you see mentioned in the same breath as guitarists too often.

But they are united in this beautiful Tele built in Fender’s Custom Shop in the early ’90s. Clad in what Fender dubbed Frost Gold, the instrument is in fact a Gatton signature model – minus the twin-rail Barden pickups the Maryland virtuoso was known for using.

Reed, who doesn’t strike one as a natural Gatton fan, nonetheless enthused about the instrument in a 1993 New York Times interview, in which he described it as “a really great guitar” (he’d just bought it, along with a blonde-finish Gatton Telecaster) and he liked it enough to use it for live performances on his Ecstasy World Tour from March to November 2000.

Dubbed ‘Goldie’, the guitar is accompanied by a hardshell case inscribed with the following words in silver pen: “Gatton Tele Gold / Lou Reed DG0036” and “Lou Reed / Locker #15”, giving (one presumes) his techs an easy time when storing and retrieving the guitar.

This Tele was, until it went under the hammer at Christie’s, part of the late Jim Irsay’s mega-collection of historic instruments. It fetched $330,200 when it was sold in New York in March.

• “Lot after lot we felt like we were making history”: World record for most expensive guitar shattered three times in one night as Jim Irsay auction sees David Gilmour's Black Strat fetch $14.5m
• This article first appeared in Guitarist. Subscribe and save.

What is it?

Almost across the board, Fender’s Artist Signature series Telecasters are unique creations that are truly deserving of their “signature” honorific. Take the psychedelic Jimmy Page Tele, the everything-but-the-kitchen-sink Brent Mason Tele or – to really drive home the point – the super-unconventional, “Huh?!?”-inducing Jack White Triplecaster.

These are definitely not your father’s – or your uncle’s, niece’s or cousin’s – Telecasters. I mean, unless you have Thanksgiving dinner at Jack White’s house.

Anyway, it’s safe to say that, with its new John Osborne Telecaster, Fender has stayed true to form; there is no mistaking this guitar – a faithful reproduction of Brothers Osborne fretboard acrobat John Osborne’s heavily modified 1968 Tele – for someone else’s signature model or, for that matter, any other Tele.

Besides the unique visual appointments, which we’ll get to soon enough, this sick puppy comes with a B-bender.

For those who need a refresher, a B-bender is a contraption that – with a downward push on the guitar’s neck – literally pulls your guitar's B string up a perfect whole step. So, a B note suddenly becomes a C# (or a shaky C if you don't pull the string all the way).

Some people say it makes a guitar sound like a pedal steel guitar, but that’s a bit much. It makes your guitar sound like a guitar with a B-bender, and that’s a truly magical thing to have in your arsenal. Anyone who’s ever bent their way from a 3rd-position Csus2 chord on the top three strings – voiced C, D, G – to a perfectly in-tune C major triad (C, E, G) knows what I’m talking about.

No, this is not the first B-bender to appear on a mass-produced Fender Tele; there’s the previously mentioned Brent Mason Tele with its Glaser bender, and let’s not forget Fender’s beloved – and now extinct – American Nashville B-Bender Tele, which sported the ingenious Parsons/Green bender system.

It is, however, the first Fender B-bender to be designed in-house; it has lovingly been named the “Fender B String Bender.”

I’ve been playing B-benders since 1999, so I was eager to get my mitts on this guitar. Let’s see how it goes!

Specs

• Launch price: $2,199 | £1,849 | €2,199
• Made: Mexico
• Body: Alder
• Neck: Maple / 1968 C, bolt-on
• Fingerboard material/radius: Maple, 7.25" (184.1 mm)
• Scale length: 25.5" (648 mm)
• Nut/width: Synthetic Bone / 42 mm
• Frets: 21, Jumbo
• Hardware: Fender Vintage tuners, Ashtray through-body bridge with 3x compensated brass barrel saddles with Fender B String Bender
• Electrics: 2x John Osborne Telecaster pickups, Master Volume, Master Tone, 3-position toggle
• Weight: 7.9 lb. / 3.6 kg.
• Left-handed options: No
• Finishes: Road Worn Olympic White
• Case: Vintage-style hardshell
• Contact: Fender

Build quality

Build quality rating: ★★★★☆

As soon as I open the Osborne’s black hardshell case, my eyeballs don’t know where to go first. But – who am I kidding? – it’s got to be the custom black pickguard that covers most of the body, making the guitar look like an obscure Cold War-era comic book hero who’s about to get his or her own Marvel franchise.

It’s held on tight with 13 screws; the only part that isn’t snug to the body is the thin, descending piece near the control panel, a place where it’d be impossible to fit a 14th screw. It doesn’t get in the way, but I could see it getting knocked off during a particularly nasty roadhouse-gig rumble. Hey, it happens!

The neck pickup’s exposed magnets – which give it a look similar to creations by Lollar, Fralin, Porter or TV Jones – lend the guitar a custom, aftermarket-enhanced look. Meanwhile, the dark, hand-oiled maple neck is kinda stunning. It’s like a stained – and now perfectly faded – piece of ancient living-room furniture that gets passed down from generation to generation.

The three-way toggle, which is more like what you’d find on a Jazzmaster or Les Paul, is nice and tight and devoid of wobbles and shakes; the same goes for the volume and tone knobs, which is a good sign. Speaking of knobs, Fender has turned an unassuming volume/tone knob into an important part of the bender mechanism.

It sits to the right of the bridge (from the POV of the guitarist), and – when you engage the bender with your fretting hand – you can watch as the repurposed knob swivels to the right, literally pulling the B string toward the bridge.

When you flip the guitar over, you can see the guts of the bender, thanks to a recessed, clear-plastic cover. It’s like when you visited that chocolate factory on your fourth-grade class trip, and they suddenly took you into the kitchen to see how the chocolate is made.

The bender looks, well, like a bender – similar to, yet completely different from the Gene Parsons-installed Parsons/White bender in my Palir Titan T-style. Hey, an Egyptian mongoose and a common dwarf mongoose look different from each other, but they both look like mongooses.

The body has your typical Road Worn finish with plenty of tiny craters here and there and a nice chunk of exposed wood right where your picking arm meets the body. To be honest, I’ve been playing this guitar so often that – at this point – I can’t tell which craters and scratches are mine and which were applied in Ensenada, Mexico, but I’m not too worried about it.

Playability

Playability rating: ★★★★½

The John Osborne Tele’s 1968 C-shape neck feels particularly comfy. Fender could probably get away with calling it a “1968 U,” although it actually reminds me of the Soft V neck on my Jimmie Vaughan Tex-Mex Strat. Regardless of which uppercase letter you want to stick with, this neck melts into your hands. Its light, hand-oiled finish makes it easy to feel “at one with” the guitar.

The action on our test model was on the high side, but I lowered the bridge saddles a bit and was ready to go, even testing it over the course of a few gigs at the New Jersey Shore – a legendary Telecaster proving ground since the E Street Band were regulars at the Stone Pony.

The B-bender functions, well, like a B-bender. That said, compared to other benders in my collection, I’d say this one has a shorter stroke, meaning there’s not a lot of travel time (and/or space) between an un-bent B note and a bent/pulled C#.

It still gets you where you want to go, but – as Gene Parsons explained to me a decade ago, long-stroke benders give you that – and I’m totally paraphrasing here – “sweet” Clarence White effect.

Despite a night’s worth of bending (every third song or so), the B string stayed in tune after a few first-set adjustments. Which reminds me: all B-benders have a fine-tuning mechanism, and this one lives just below the all-important upper strap button, the one that moves up and down when you push down on the John Osborne Tele’s neck.

The fine tuning is done with a supplied ⅛-inch Allen wrench, which happens to be a common size in case you lose it, which I did in about three minutes.

The John Osborne Tele is as nicely balanced as any standard Tele – and the weight is also about the same. I can hear you now: Given the added B-bender, how is this possible? Well, just think about the amount of wood that had to be removed from the body to make room for the bender. The guitar weighs 7.9 lb., exactly the same as my American Professional I and II series Teles.

Compare that to my Fender Custom Shop 60s Rosewood Closet Classic Tele (which is based on George Harrison’s Let It Be Tele, another ’68), which lurches in at 9.5 lb., the same as my 1998 Nashville B-Bender Tele. So we’re talkin’ 1.6 lb. lighter than the ol’ Nashville. Something to consider!

Sounds

Sounds rating: ★★★★★

At the aforementioned gigs, the John Osborne Tele and I shared the stage with an amplified acoustic guitar, an electric bass, drums and keyboards. As usual, I was plugged into my Fender Tone Master Deluxe Reverb.

With nothing but a touch of reverb courtesy of a J. Rockett Boing pedal and delay from a TC Electronic Plethora X5, I had zero trouble cutting through the mix. The bridge pickup is super bright, articulate and chimey, with what I’d swear is a touch of extra snap. The neck pickup is equally commanding, with what feels like an extra serving of fatness, just right for those moments when the band veers into Stevie Ray Vaughan territory.

That said, the middle position – where I usually feel most at home, even when soloing – faded a bit too easily into the mix. That familiar “quack” is still there, but, sadly, the middle position was relegated to rhythm at these gigs. On the bright side, this actually can be helpful when you need to sit back and let other people do their thing – like that eternally loud keyboard guy!

Back home, now running the guitar through a Vox MV50 Clean head and matching Vox cab, followed by a Supro 1624T DualTone, I was finally able to appreciate the richness of the middle position. There’s a distinctive ring to it, something you hear from chambered or semi-hollow Teles like the Fender American Elite Telecaster Thinline.

Meanwhile, the bridge pickup sounds exceedingly present and lively – obviously perfect for in-your-face country music, but also just right for classic rock, blues and pretty much anything else.

Using the bridge pickup with the tone rolled way down opened the door to some convincing jazz tones, just with a slight quack or twang. Picture Charlie Christian in a cowboy hat.

In terms of slightly heavier sounds, it just so happens I had to brush up on Cream’s SWLABR and Crossroads for a completely unrelated set of gigs. I tackled SWLABR with the neck pickup through an Aclam The Mocker fuzz; I hit Crossroads with the bridge pickup and a J. Rockett Archer overdrive. In both cases, I was able to convincingly reproduce these very disparate Clap-tones.

Verdict

The Telecaster turned 75 this year, and Fender has been having fun with some of its 2026 releases. Nowhere is that more evident than the John Osborne Tele. To put it simply, this guitar sings its ass off and has off-the-charts stage presence, kinda like the country-rock duo that inspired it.

There are certainly more appealing B-bender units out there – I swear, the Parsons bender in my Palir Titan is one of the greatest things ever crafted by humans since the Cognitive Revolution 50,000 years ago – but the catch is, if you want one of those benders installed in your guitar, you have to pay for the bender, plus postage (both ways), plus installation – and then there’s the wait, and we might be talking months (or longer), folks. The John Osborne Telecaster is a serious case of one-stop shopping.

Interestingly, for just about the same price you could head to eBay or Reverb and pick up a used late-Nineties Fender Nashville B-Bender Tele. The Nashville probably has the better bender, but the Osborne Tele has a custom look and a lot more style, plus it weighs considerably less.

Guitar World verdict: If you’ve spent years (or hours) listening to Clarence White, Albert Lee, Brent Mason, Marty Stuart, Jimmy Page, Brad Paisley, Glenn Tilbrook and John Osborne pull magic out of their B-benders – and you’ve decided it’s time to dip your toes into the B-bender wading pool – the John Osborne Telecaster is an attractive, cost-effective way to get the job done.

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Stu Robson, a lifelong devotee of trading up to ever-better guitars and the founder of Sunbear Pickups, recently acquired – with the financial blessing of his nearest and dearest and some judicious trades – a genuine Golden Era Gibson. So what does it feel like to reach such a milestone as a player/owner and how did he get there?

“I’ve spent my whole life buying and selling guitars and selling stuff for a little bit extra and being able to, therefore use that to get something else,” Stu reflects. “And I did that loads as a teenager and into my very early 20s, before Jeff Pumfrett [the late owner of World Guitars] left Machinehead in Hitchin.

“I used to go between Hitchin and Coda Music, and I would buy things from one place, do things up, then trade them in elsewhere. And they all knew about it [laughs].

“The first things I used to buy and sell were Parker Flys and Ibanez JEMs. At the time, they were fantastic guitars but the real drive towards them had passed and was in a lull. So I could get a beaten-up late-’80s, early-’90s JEM the previous owner had set up badly because they didn’t know what they were doing with a Floyd Rose.

“Or there’d be a Parker Fly with a fret that’d fallen off of it. I was buying guitars like that for £400 to £600 and I would tart them up a bit and sell them online, and they would go to different countries. Japan in particular, loved buying JEMs at the time.

“So I used to trade myself up [in terms of quality of guitars] bit by bit over time. But with this particular one, obviously going up to a guitar of this sort of value, has involved years of trading up.

“I have a Masterbuilt Fender Duo Sonic, which is going towards paying for this plus a Masterbuilt Strat as well as some other smaller bits and that kind of stuff. So I think it’s worth getting some nice guitars and then using those nice guitars to buy a more rarefied vintage guitar.

“This guitar is​ a 1957 Gibson Les Paul Special. It’s all original. It’s previously had a Bigsby and a set of Grovers on it. They’re the only value-detractors on the guitar. Otherwise, it’s all stock – the only thing on it that’s an upgrade is a St Helens-compensated, replica wraparound bridge, so that’s a modern quality-of-life improvement.”

“Apart from that, as I say, it kind of is what it is. I’d have bought it even if it had had an averagely good set of pickups in it. But, as it happens, its particular set of P-90s in it are ridiculously good. Yeah, I’m still trying to work out quite why they’re as good as they are, if I’m honest with you.

“They’re just ridiculous, which is just luck. You know, I’ve got a set of 1956 P-90s from an old Goldtop in another guitar here, which are also a great set. But you go backwards and forwards between the two and this ’57 just slays it instantly.”

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

What is it?

The Ibanez Iron Label range is unashamedly all about producing metal guitars for those who want to get heavy and shred. Launched in 2013, the ethos is strip back anything non-essential, prioritise performance, and of course, that all-black everything aesthetic. The Ibanez Iron Label AZ41B1, however, represents a slight deviation from the ultra-aggressive ethics of previous Iron Label guitars.

It’s the first Iron Label instrument to take the form of an AZ guitar, which is a bit less aggressive than the RG, S, and Xiphos models we’ve seen previously. That means some more modern features like the Super All Access Neck Joint and a much chunkier Oval ‘C’ neck profile - what you’d typically expect to find on the more rock/fusion orientated models - meet the hard tail bridge, stainless steel frets, and dual humbuckers.

The AZ41B1 has an S-style American basswood body, finished in a satin black. It’s a roasted maple neck attached via four offset screws, with an ebony fretboard and 24 stainless steel frets. It’s a 12-inch radius with a GraphTech nut at the top. Gotoh MG-T locking tuners adorn the headstock, while at the other end, an Ibanez F106 hardtail, strings through the body bridge, acts as the anchor point.

The two DiMarzio Fusion Edge humbuckers are controlled by a 5-way pickup selector and an alternate switch that unlocks Ibanez’s ‘Power Tap’ function, which allows bass frequencies to pass through both coils but limits the high frequencies to one, delivering better split coil tones. You can apply these in each position, which gives you a total of ten different pickup configurations. A single volume and tone control completes the electronics layout.

Specs

• Launch price: $1,099.99 | £949 | €1,079
• Made: Indonesia
• Type: Six-string electric guitar
• Body: American basswood
• Neck: Roasted maple / Oval ‘C’
• Fingerboard: Ebony
• Scale length: 25.5”/ 647.7mm
• Nut/width: Graph Tech / 41.9mm
• Frets: 24, jumbo, stainless steel
• Hardware: Gotoh MG-T locking, Ibanez F106
• String spacing at bridge: 52.9mm
• Electrics: 2x DiMarzio Fusion Edge, master volume, master tone, 5-way blade switch
• Weight: 6.83 lbs / 3.1 kg
• Left-handed options: N/A
• Finishes: Black Flat
• Case: No
• Contact: Ibanez

Build quality

Build quality rating: ★★★★½

Pulling the AZ41B1 out of its box, the all-black design makes it clear what its intended purpose is. Literally everything is black, even down to the Ibanez logo on the headstock, which makes it difficult to read at certain angles and distances. I certainly appreciate the commitment to making everything as dark as possible. The only tiny splashes of color are the side dots on the fretboard, the stainless steel frets, the strings, and the thumb screws on the locking tuners.

Performing a close inspection of the guitar, the only thing I can see aesthetically out of place is a slightly jagged cut where the pickguard meets the body on the bass side of the fretboard. It’s absolutely tiny, though, and only visible with my nose pretty much up against the guitar.

That aside, it’s perfectly finished in every way, which is all the more impressive given how easy it is to mark a matte black finish. Case in point, once I was done with my inspection, there were plenty of fingerprints and marks on the guitar, and I can already envision what a nightmare it will be to keep this guitar looking clean, especially when gigging.

On the back side of the body there are a few interesting flourishes. The low E-string ferrule is slightly further back than the rest, which helps those downtuning by ensuring that even if you’ve got the saddle pushed all the way to the back of the bridge, there’s still a break angle. Interestingly, there’s no cavity on the back for the main electronics, so in order to access these, you’d need to take the whole pickguard off along with the strings.

There is a small plastic cover for the output jack wiring, which is positioned higher up on the body than is typical, angled upwards to make it more ergonomic for wrapping your guitar cable around your guitar strap. Unfortunately, while great for playing standing up, it means I can't get an angled cable, nor the transmitter of my Boss wireless guitar system into the output jack. Also, I can't lean the guitar against a desk when not in use, as the cable prevents it from sitting upright.

On a more positive note, the knobs offer a firm travel when turning, and the switches are all solidly applied, completing what is a very well put-together instrument indeed.

Playability

Playability rating: ★★★★½

I’ve owned a couple of Ibanez RG guitars, so I was pretty surprised when I sat down to play the AZ41B1 unplugged. The neck is a decidedly thicker affair than the super slinky shred necks the brand is known for, but it wasn’t an unpleasant one. I generally prefer something with a bit more heft to it.

The Oval ‘C’ profile is a very comfortable all-rounder, with the rounded shoulders paying homage to the ‘D’ profile of the Ibanez Wizard necks but feeling much fuller in my hand overall. Playing some power chords and open chords feels great, and the satin finish ensures that it’s smooth when moving my hand up and down the fretboard.

Moving to some lead work, the action feels a little high, and pulling out my ruler, I measure it at 2mm at the 12th fret with my finger on the 1st fret. It’s a quick adjustment to get it lower, but I’d have expected a guitar geared towards metal to come with a much lower action out of the box. The neck relief looks good, so I adjust it at the saddle to get the guitar playing a lot faster.

The jumbo, stainless steel frets feel fantastic to bend against, and with the action lower, those three-note per string legato licks fly on the ebony fingerboard. There are no fret markers, so it’s easy to lose your way higher up, particularly as I usually play a 22-fret guitar. But, after an initial adjustment period, I soon find myself able to wing my way through my usual arsenal of lead licks, and the guitar accommodates everything from bluesy bends to sweep-picked diminished arpeggios.

Sounds

Sounds rating: ★★★★½

Plugging into a Fender '64 Princeton Reverb reissue tube amp, I’m initially very surprised by the character of the humbuckers. It’s not the super-compressed, surgical feel I expect from a modern metal machine; instead, I’m greeted by very organic-sounding, sweet clean tones.

Starting in the neck position, there are bags of articulate clarity, although with the volume on 3 on the amp, I do need to roll off the volume knob on the guitar a touch to get it completely clean, as there’s a fair bit of output. Moving to position 2, it’s very much that SSS Strat type sound, bright and thin, but it never verges on brittle. Position 3 puts both coils of both humbuckers on, which delivers a nice balance of spanky high end and low end warmth, without ever feeling overbearing on either side.

Position 4 delivers a similar sound to position 2, and ends up being my least favorite. It’s smoother than position 2 and sounds great with open chords, but there’s a touch of brittle high end when I dig in on lead work. Position 5 is a return to form though, delivering plenty of round warmth in the lows while still retaining clarity and cut for lead work.

Switching to something a little better suited to this type of guitar, I bring out Nolly’s Neural DSP plugin and its 5150 simulation to see how the AZ41B1 feels with a metal amp. Needless to say, it excels in all departments. Digging in with open notes and alternating power chords sounds glorious, with a nice, tight bottom end, hefty midrange, and articulation in the highs.

It’s chug city on the bridge humbucker, and there’s some lovely extra warmth and thickness when I switch to the neck position for some lead work. Those in between sounds? Not quite as nice with this much gain piled onto them, so I end up skipping through those as I test each of the sounds.

The AZ41B1 also features five other pickup configurations accessed via the Alter Switch between the volume and tone knobs. These offer some interesting tone combos by mixing power tapped coils with regular ones, giving a great variety of sounds. I liked some of these better than others, and to my ear, they sounded better on the clean amp than through anything high gain.

While some of them fall into ‘nice to have’, I did find the power tap in positions 1 and 5 was really nice on the clean amp, delivering a sort of hybrid single coil sound with a bit more oomph than what you’d expect from a traditional single coil pickup. It also unlocks a single coil of each humbucker on its own in positions 2 and 4, which sounds a little sweeter than the regular position, where a coil from each humbucker is active.

Verdict

As someone who loves heavy music, I expected to enjoy the tones of the Ibanez Iron Label AZ41B1, but it definitely caught me off guard with its versatility. If you like that style, then it very much looks like the epitome of a metal guitar, but you could realistically take this to any kind of gig, and it will do the job for you.

Some players expecting that typical Ibanez shred neck might feel a little disappointed that this isn’t the case here. The neck is definitely heftier than you might expect, aimed at making it a little more of an all-rounder rather than a true shred guitar. I was surprised that the action was so high as well, considering it’s part of the Iron Label series aimed at heavy and fast playing. This was fairly simple to rectify, however.

Guitar World verdict: The Ibanez Iron Label AZ41B1 honestly surprised me with just how versatile it is, especially with its very heavy metal lineage in mind. It delivers a superb array of tones that can handle everything from crushing modern metal to funky spank, all with an organic feel that never gets too surgical, but can still handle itself when ladled with high gain. Add in a superbly playable neck (once the action was lowered), and you have a real sleeper guitar that can chug with the best but still has enough versatility to play a majority of roles.

Also try

Dimebag Darrell’s estate has issued a new statement in light of a recent court ruling that swung in favor of Dean Guitars owner, Armadillo Distribution Enterprises, amid the protracted legal battle between the two parties.

The late Pantera guitarist had designed two signature guitars, the Stealth and Razorback, in collaboration with Dean Guitars, using its ML model as their foundation. Dimebag’s employment of the guitars has made Dean’s X-shaped variants some of the most recognizable metal guitars on the planet.

Rita Haney, who was Dimebag’s longtime girlfriend and is now trustee of his estate, had sued Dean for “unauthorized fraudulent trademark registrations” regarding both guitars. She felt the guitars should be deemed as the intellectual property of the guitarist.

However, a court ruling in early May granted Dean a summary judgment that dismissed “the majority” of the Dimebag estate’s trademark, fraud, and breach of contract claims. Ultimately, that meant the guitars were deemed to be owned by Dean, not the In Dime We Trust estate, which Haney spearheads.

Now, a statement issued by In Dime We Trust states that it “respectfully disagrees with the Court’s ruling and believes the decision conflicts with the clear language contained in the agreement Darrell Abbott signed with Dean Guitars in 2004.”

The agreement was signed shortly before his death that same year. Dimebag had rekindled his relationship with Dean after a period with Washburn guitars, which resulted in the Razorback’s creation.

In Dime We Trust claims the signed agreement states “Dean “shall acquire no rights in the tradenames or designs Stealth Guitar or Razorback Guitar by virtue of this Agreement, and upon termination of this Agreement shall cease the production of Stealth and Razorback style guitars.”

“To the Trust, this language demonstrates Darrell Abbott’s clear understanding and intent that ownership and control of the Stealth and Razorback guitar designs would remain with him and would not transfer to Dean Guitars under the agreement,” it adds.

A Non-Disclosure Agreement, which the Trust states was “executed” two months before the wider agreement was signed, saw then Dean Guitars CEO Elliott Rubinson “acknowledge that the Razorback and Stealth guitar designs, along with the associated headstock designs, were created by Darrell Abbott.”

Put simply, the Trust is adamant that Dimebag “would never have signed away ownership of his designs,” believing “the documents clearly support that,” and that Dean “has repeatedly misrepresented the facts” regarding the matter.

It reiterates that “Dean Guitars did not make or sell a single Razorback nor Stealth before their formal relationship with Darrell... and in no way should they be allowed to make these guitars after the relationship was terminated.”

Consequently, Dimebag’s estate will appeal the court ruling.

“We continue to fight for the return of Darrell’s guitar designs as well as their unauthorized use of Darrell’s name, likeness, and intellectual property,” it says.

It will also pursue additional claims relating to Dean’s use of the “Dean From Hell” artwork, Dime’s number one guitar.

What is it?

The current Manchester-made Ancoats line-up consists of just three guitars: the original New Islington, the NQ and the latest Granada as we have here.

But it’s far from what you see is what you get as each model can be very much custom tailored to what you want. For example, the standard Granada starts at £1,099, including a gigbag, and is a more T-style version of what we have here.

“This is a Granada Special,” confirms Ancoats founder, Dave Roberts. “This is ‘Special’ because I’ve moved the pickup selector switch to the top horn as the traditional placing on a Telecaster can get in the way of strumming for some people.

These guitars are normally more expensive than the ‘standard’ Granada because it takes more work to rout the rear cavity for the controls – I do this by hand in my workshop, not on the CNC.

“This exact guitar, if ordered as a custom build, would currently be £1,494,” he tells us, “but it’s actually a part of a small batch where I got the body made at the same place I get my necks made [Dave uses a local CNC manufacturing partner to make the very repeatable necks].

This cuts down the work time so these are available from £1,350, plus there’s 10 per cent off if you join the mailing list, so it actually works out at £1,215. It’s exactly the same materials and guitar as the custom jobs, but I get to choose the components – bulk order to save money – and it cuts down build time, so I can offer them a bit cheaper.”

That sense of value for money pervades the build. One change here is that the body wood has switched from obeche to the more mahogany-like okoume (korina and swamp ash are the Ancoats standard), here with an overall depth of 40mm, and a top edge-only ‘German-carve’ to the edge that is nicely done and suits the style.

Ancoats is another new brand that uses proper threaded bolts (not screws) to attach neck to body. There’s a classy-looking aluminium neckplate, while the neck here is a clean caramel-coloured roasted plain maple, like the separate fingerboard that has those neat offset dot inlays.

Overall, there’s an appealing clean craft, not least to the satin finish neck and more textured ‘open-pore’ finish to the body, which Dave has coined ‘Future Relic’: “This is my answer to pre-relic’d or roadworn guitars,” he says. “It’s probably not that novel of a concept, really. It’s basically a thin-skin, water-based finish from Little Greene Paint Company in Manchester with a secret colour underneath.

“If you play it hard enough the paint will wear naturally and you will have a naturally worn instrument in a few years. If you want to keep it pristine, just don’t play it hard and look after it.”

The hardware is a little more everyday, not least the die-cast non-logo tuners that provide little behind-the-nut string angle. The ‘cut-off’ T-style bridge is by Wilkinson, with compensated brass saddles, but perhaps oddly doesn’t offer through-body stringing, just top-loading. That’s not the bridge’s fault; the body simply hasn’t been drilled for the former.

The big change over the standard, more T-style Granada is the pickups, typically wound by Green Pickups, again based in Manchester, which move away from the T-style single coils to this humbucker/P-90 setup. Controls are simple: there’s the shoulder-placed toggle switch selector paired with a simple master volume and tone, and side-placed output jack.

Specs

• PRICE: £1,494 (approx $1,999 inc gigbag)
• ORIGIN: UK
• TYPE: Lightly double-cut bolt-on solidbody electric
• BODY: Okoume
• NECK: Roasted maple, medium ‘C’ profile, bolt-on
• SCALE LENGTH: 648mm (25.5”)
• NUT/WIDTH: Bone/42.5mm
• FINGERBOARD: Roasted maple, white dot inlays, 305mm (12”) radius
• FRETS: 22, medium jumbo
• HARDWARE: Wilkinson ‘Short Bridge’ w/ compensated brass saddles, non-locking die-cast tuners
• STRING SPACING, BRIDGE: 52.5mm
• ELECTRICS: Green Pickups GoldFoil HB (Bridge) w/ Staple P90 at neck, 3-way toggle pickup selector switch, master volume and tone with over-sized control knobs.
• WEIGHT (kg/lb): 2.90/6.38
• OPTIONS: Lots! The Ancoats configurator will tell you all you need to know. All models start at £1,099
• RANGE OPTIONS: Other current models are the New Islington and the NQ. All share the same base price and wide option palette
• LEFT-HANDERS: Yes, same price
• FINISHES: Jewel Beetle Green (as reviewed) from huge choice of water-based colours – open-pore ‘Future Relic’ finish
• CONTACT: Ancoats Guitars

Build quality, usability and sounds

Just as its ‘Special’ specification moves this version away from the T-style, it also results in a feel that’s nicely original. Yes, on your lap the guitar neck dives a little, but strapped on it feels purposeful with an excellent weight only slightly heavier than the previous obeche New Islington model we looked at a couple of years back.

The nicely done neck again follows a relatively thin-depth/full-shoulder profile, the medium-gauge frets are nicely finished, too, with good height on the 350mm (12-inch) cambered fingerboard. These fine details, like the satin Osmo oil finish, are all done by Dave, creating a great feel with an almost bare-wood vibe. Does it feel like a vintage Fender? No, but there’s nothing that feels ‘wrong’ and there’s an inviting clean ring unplugged.

We’ve spent a little time with Leigh Greenhough’s Green Pickups, and these seem well suited to the Granada Special. The Staple P-90 at the neck is standout, percussive and hollowed – it might well be a pickup you’d centre a whole build around. On this platform it’s a beautifully funky, choppy rhythm pickup, but pull the volume back a little and there’s old-school jazz roundness with just enough clarity.

The GoldFoil HB at the bridge is a great match, too. Less a classic ‘Gold Foil’, more a relatively clean and clear ’bucker with enough clout and midrange for some pretty gained lead voices, it sounds as good as it looks.

If this were our order, we’d be requesting a coil-split, though, to create a more T-style single coil at the bridge and another texture for the nicely jangly mixed position. But, as standard, this is a well-voiced and surprisingly versatile pickup set that really suits the guitar’s potential.

Verdict

Verdict: ★★★★½

There’s an increasing number of UK makers, from Fidelity to West Valley, who are creating quite original guitars based less on the well-worn classics and more on an often unique style. Ancoats certainly fits into that area.

And while the new standard Granada model is more T-style alike, this Special is a little more unique without the bridge or control plate that we’ve been looking at for decades. There’s plenty to customise, too, via the neat webpage configurator and, while we’ve evaluated this piece at its top price, there are clearly deals to be had.

Guitar World verdict: The style and craft is good. A few minor points could be addressed, but – particularly due to the simple construction and really good pickup set – this is a pretty stylised, classy piece. And along the way it places the heritage of Manchester centre stage. We look forward to seeing and hearing more from Ancoats.

Hands-on videos

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Ancoats Guitars

• “A vibrant Fender-y voice, lightweight feel and original style”: Ancoats Guitars New Islington review
• This article first appeared in Guitarist. Subscribe and save.

Since the rise of Strandberg, the ergonomics of a guitar have come increasingly into question. Choice of contours and ease of playability are now major considerations for all firms kickstarting many revisions.

But for Ryan Wizner, former Special Operations Ranger turned CNC machine specialist, “ergonomics” is more than just a buzzword. He was one of the first US soldiers to land on Afghan soil in the wake of 9/11, and his body hasn’t been the same since.

“By the time I came home, my back was a trainwreck,” he says. “I had a bulging and dehydrated disc and spinal misalignment. It’s been self-care for the last 25 years. I’ve come up with a multitude of stretching and workout systems, and I’ve alleviated most of it. But it’s always there, ready to put me down for a couple of days.”

Playing guitar, for Wizner as it is for many, is more than just a fun way to pass the time – it’s a key pillar of his mental health. But he can only play for 45 minutes before the pain is too much to bear. So he’s taken matters into his own hands, and his wild-looking Ghost Lab Acoustics HyperNova 2.0 is a radical electric guitar design.

“I'm an avid cyclist – those fruitloops are always very tightly knit about what every muscle is doing,” he says. “So I applied that logic to the guitar. I’ve tried Strandbergs and other ergonomic guitars, and they were all close, but they weren’t it.”

Covering Preston Reid’s Blasting Cap five years ago – a song that features some rather deft over-the-fretboard tapping and other trickery – exacerbated his need for a better solution. The HyperNova 2.0 aims to cancel posture issues and muscle tensions that guitar players are often unaware of, but, he says, equate to wasted energy.

Using a one-to-one Brother printer to cut out cardboard shapes, he’d had his wife film him “playing” the guitar to figure out the right posture. He found that, that if you move the guitar away from your body by 15 degrees, your shoulder and elbow will align. If you have it closer to your body, and your elbow is pulled behind your shoulders, creating unwanted tension.

“If your elbow is aligned with the center-line of your shoulder on both sides, and your arm is at 90 degrees or lower on both sides, that's where everything opens up and comes together,” he says.

“I think people misunderstand – the HyperNova is not replacing anything. I still have all my other electric guitars, and I still want to buy a PRS and a real Les Paul one day. But when it’s time to grind that new song for hours on end, I want to use only my fine motor skills and my fingers. That's where this guitar comes in.”

At the heart of Wizner’s design is a dual-leg support geometry – this baby won’t move once it’s resting between your legs – to encourage correct posture and accommodate a wide range of body types. There’s a lowered string-plane to reduce shoulder strain, and forward-mounted volume and tone controls that are “right in the line of strumming.”

“I understand that you want it quick to get access,” he says. “But my thought was, ‘Let’s have the left hand do that work, because the right hand can keep making adjustments mid-song.’”

As the model name suggests, this wasn’t his first attempt. “The first prototype failed miserably! That’s how engineering goes. Within five minutes of playing I knew it wasn't it. So I went back to the drawing board.” But his commitment and attention to detail are abundantly clear in the final build.

Version 2.0 has swapped carbon fiber for more traditional woods, after Wizner accepted he’d come up wtih one too many innovations for the market. The wood comes in 32mm-thick blocks from a local sawmill – birdseye maple for the centrepiece and bolt-on neck, padauk, and wenge and purpleheart for the armrest contour and upper bout. They’re fused together with the adhesive that Formula 1 teams use.

Interestingly, Wizner feels that the union of hardwoods helps the guitar’s sustain: “When you’re striking a note and the vibrations are moving through the instrument, it’s moving across all these little hard spots – the natural knots in the woods – and it’s fracturing and breaking up. I feel it creates a really lasting sustain.”

The neck is modelled on Ibanez’s fast-playing Wizard III, and the instruments are stocked with EMG 81X/60AX humbuckers, which can be swapped out without soldering. Sperzel tuners and a Guyker tremolo also feature, after another well-known brand failed the longevity test.

“The finish wore off within a couple of weeks, whereas the Guyker components didn’t,” Wizner says. “I'm also using Thomastik-Infeld strings and Duracell batteries. Every component is the highest end that I can manage.”

The inverted V has an almost Lego-like assembly so that swapping parts is effortless; he encourages players to season to taste. Swapping a hardtail bridge for a tremolo, for instance, is as easy as you like.

Of course, at $3,299 apiece, the price will turn some off. But with 30 hours of labor going into each build, and the quality of the collective components, Wizner says his margins are “razor thin.”

He explains: “I want to get this in people's hands,” and reports that he’s already eying up acoustic guitar, extended-range and bass designs, as well as one day giving the cello the same treatment.

“This isn't just for people who have back issues. It highlights an area that most people just kind of deal with,” he continues. “Session musicians would really benefit from this; beginners too. You barely notice it, so you can concentrate on making music.”

• See Ghost Lab Acoustics for more.

The market for both used and new guitars has had a few rollercoaster moments in the past few years – most notably during lockdown – and while things have steadied quite a bit, professional traders, private buyers and sellers alike are all still trying to figure out what the new normal looks like.

But amid the settling dust, some clear patterns have emerged – while there are always timeless skills that can help you buy your dream guitar or sell gear fairly and quickly.

One man who’s well placed to advise is Cyril Nigg, Data Science Leader with Reverb.com – the huge online marketplace for music equipment. We sat down with him to examine the anatomy of a good guitar deal in 2026.

What models currently seem to offer the best deals on the new guitar market, in your opinion?

That’s a good question. I try to break it down into a few different price points. So when we look at the sub-£500 mark, there’s the PRS SE series – I think those are fantastic guitars, especially for the price. Working at Reverb, I tend to focus more on the used market and really I’ve only bought a few new guitars in the last 10 years.

One of them was the PRS SE CE 24 with the twin humbuckers. I helped my father-in-law buy it. He’s a big Santana fan, and he wanted to get something new. When you just compare [it with] the quality of instruments at that price point, it’s pretty hard to beat.

Staying with that line, the SE Silver Sky is also a great guitar if you want that S-Style configuration – they’ve been one of the best sellers on Reverb as well for the past four or five years since it was released.

If you go a bit higher in price and think about new, more innovative shapes that don’t look like they were designed in the ’50s or ’60s, Reverend makes guitars like the Charger or the Double Agent – which is kind of like a variation of the Charger – that are really cool guitars for just under that $/£1,000 price point and offer a kind of Tele-meets-Gibson design in an offset body.

What used guitars do you think sometimes get overlooked but offer really incredible features or quality for the money?

There are a few models that stick out. One is the early 2000s Gibsons, particularly the Juniors and the Specials. You can get those for under 800 pounds – still a pretty good deal and they have a nitro finish that ages nicely [even in just 15-20 years], and they feel good. In a similar way, the Fender Highway One series from the early 2000s – the Telecasters in particular – look and sound great.

One of the things I like about them is their really thin satin nitro finish. I’ve had one for 20 years and it just ages like a [Custom Shop] Relic in a cool way rather than like someone just took a screwdriver to the guitar to chip some of the finish off! And those ones are typically good deals, too. You can definitely get those for under 800 bucks in the States. Moving a little bit later on, the 2012 American Standard Strats were using the Custom Shop Fat ’50s pickups and they are great guitars and usually well-priced.

What mainstream guitars from the past 20 years tend to hold their value well?

Signature models have done really well, kind of across the board. We have a Reverb price index where we track and aggregate individual model prices over the past six or seven years, and when we were going through it the signature models have held their value the best.

The Johnny Marr Jaguar was a good example, even the EVH Wolfgang. Maybe you consider that a signature model. I’m also thinking of the Epiphones, such as the Tom DeLonge ES-333 and Joe Bonamassa Firebird – those have held their value really well, as has Fender’s John 5 Telecaster.

Some of these guitars have basically doubled in value between 2019 and, you know, where we are now. Of course, during the pandemic a lot of the prices went up, but then they tended to come back down.

But the signature models have just stayed a bit more elevated compared to some of the other more standard models. The other ones [that seem to hold value] are Rickenbackers in general. They’ve been pretty consistent, especially the 330, 660, 620 and, on the bass side, the 4003 – that’s kind of like a perennial bestseller on Reverb.

What mainstream guitars of the past 40 years are going up in price?

That’s probably similar to the models that tend to hold their value. So the signature models and some of the Rickenbackers, especially with guitars from the ’90s, those are getting almost into ‘vintage’ territory, especially from the viewpoint of younger buyers.

For them, it’s kind of like the equivalent of what ’60s and ’70s guitars were when we were in high school. And then there’s also some guitars made in Japan – not Fenders necessarily but the Grecos, Tokais and Edwards brands – I think the word has kind of gotten out that they’re high-quality instruments.

We’ve all bought the occasional guitar online that hasn’t quite lived up to expectations when it arrived. What tips do you have for buyers to resolve issues successfully?

It depends on the issue, but typically I’d recommend contacting the seller before taking any other action but do it in a timely manner. If you’re buying the guitar on Reverb or another [online marketplace] platform, it helps to keep the messages on the platform so you keep documentation of what the interaction looks like. And, of course, you want to be respectful when you’re reaching out.

Our sellers are typically either musicians themselves or independent music stores, so a lot of times they’ll help you fix it, if it’s something like an issue with the action – maybe you just need to adjust the string height on the bridge or something. Ultimately, when you buy a guitar you just want it to work. But there’s a lot of ways to come to common agreement and, if you’re on Reverb, we also have our Buyer Protection [scheme].

So if there is an issue, especially within seven days of delivery, our Customer Experience team will work with the buyer and the seller to reach a fair resolution – which could be a return, could be a refund. The key thing is to provide photos and a clear description of what’s wrong and maybe reference how the listing potentially differed from what you received.

How would you go about assessing whether a price asked for a used guitar is fair for the condition, age, make and model?

Again, this will depend a bit on the instrument. You kind of have this [really broad] range, so you might be talking about an original ’52 Blackguard Tele versus a ’70s Mustang bass versus, I don’t know, a 2023 Fender American Professional Strat. But in general, you’re going to see more variation with older, more unique instruments. There are a few things that are always helpful – first, look at a price guide. Reverb, for example, has a very robust price guide.

We have thousands of items and all the transaction history [associated with them] going back historically, so you can look at sold listings on Reverb or other platforms as well. That helps you get a sense of what things are actually selling for. With some models, there’s a lot of variation, just in terms of the colour or the pickup configuration.

Also, especially as you get more into vintage guitars, you need to find out if it has all the original parts and the original case. That’s obviously going to impact the value. You can also look at a vintage guitar price guide, especially if you’re looking for [something really classic] like a ’52 Blackguard, or a pre-war Martin for example. It’ll at least give you a general sense of what prices are.

If you’re looking at something made more recently, or just looking at the used version, understanding the brand-new price will also help you price it. Typically, used instruments [in good condition] will sell for 30 per cent lower than what that guitar goes for new.

How much do buyers care about case candy, hang tags and things like that?

It really depends on how distinct the guitar is. If you’re talking about a Fender Custom Shop Tele and it’s got the ashtray [bridge] cover and maybe a cool strap that came with it or, to give a newer example, one of the Gibson Back To The Future ES-345s that had a bunch of [movie-themed] stuff in the case, like the digital wristwatch… that’s going to be very desirable.

But if you’re just talking about a Fender Standard Strat that’s made in Mexico, but you don’t have the Allen wrench and the little bag with the polishing cloth, I don’t think people are going to care that much.

How about advice for sellers – what are the key things to do in order to get a guitar sold on an online marketplace? Particularly in terms of how you photograph and describe it…

On the photo side, taking a wide range of pictures is helpful. You want to get all the angles – a full length, a close-up… making sure you capture any details, especially dings or imperfections. Photographing it in natural light will also help a lot. Nowadays, you don’t need fancy equipment, you can just use your phone – most smartphones take beautiful pictures. It’s about putting yourself in the buyer’s place – what would you want to see on the guitar? Try to take those pictures.

With the descriptions, try to be thorough. Disclose anything that might be a blemish, quirk or defect. But it can also be good to have fun with the description and tell a little bit of the backstory. I think there are times when that can be part of the attraction of buying a used instrument.

For example, I bought a ’64 00-18 Martin six months ago and the story behind the guitar was really nice. It was from a seller in Pennsylvania and she got it as a gift from her mom when she was in high school, after seeing Joan Baez. She put it under her bed and didn’t play it for 60 years.

And when I got it, it still had the original strings on it, which, when you know the story, there’s something a little sweeter about that versus just buying it and you don’t know anything about the guitar.

How about tips for being a good seller who gets great feedback?

There’s a saying that ‘disappointment is the distance between expectation and reality’ right? And so along those lines, having good photos and descriptions is really the first step. So when a buyer actually gets the instrument, it is what they expected, it’s based on what you’ve described as a seller. And then you have two other things.

One is on the communications, so you’re making sure you’re responding promptly – and if you’re shipping it out, just giving the buyer some updates on where it is, giving them the tracking information is always a good idea.

And then the last thing is just packing and shipping it properly and promptly. Once people have purchased something, then they get excited. They want to get it as quickly as possible. So I always encourage people to ship guitars as soon as they can.

• For online price guides, used gear listings and more visit Reverb.
• This article first appeared in Guitarist. Subscribe and save.

Few guitars are quite as monstrous as Steve Vai’s triple-neck Hydra, but its tamer is considering retiring it.

The Ibanez guitar was launched in 2022 to coincide with the release of Inviolate, the virtuoso's first album in six years. Vai’s got plenty of mileage out of the near-mythical head-turner since then, but the jig may soon be up.

“This is probably the last time the Hydra will come out on tour,” Vai’s guitar tech, Doug MacArthur, reveals to Premier Guitar.

He doesn’t explain why, but Guitar World can take a wild guess. The Hydra comprises a half-fretless 12-string, a seven-string guitar, a half-fretless bass, and there is also a harp, and a suite of in-built effects for good measure.

As McArthur says, “Really, it’s five instruments in one.”

The maintenance must be astonishing, and it probably weighs as much as a small city. Given that Steve Vai underwent shoulder surgery in 2022 after a pizza oven mishap and was still feeling the effects of those issues as he began tackling Robert Fripp’s King Crimson guitar parts for Beat, it might be too big a cross to bear these days.

“I had some physical challenges with my shoulder, fingers, and wrist,” he told GW in 2024. “I couldn’t play the Hydra, and I was in a lot of pain – I didn’t feel like I was delivering on all cylinders.”

But the guitar, inspired by the steampunk double-neck in Mad Max, may have also run its course as an entertainer. It starred in the deft and dextrous track, Teeth of the Hydra, and has had its place on stage with the SatchVai Band, but maybe the ridiculous 36-string has said all it needs to over the last four years.

“When you see how I performed this piece, it’s so entertaining, because I had to negotiate the left-hand pull-offs so that the melody sounds uninterrupted – like a real melody,” Vai said of Teeth… upon its release. “It was crazy. It took two months.”

Maybe it’s time for a new star to take its place. The obvious contender would be Vai’s custom-built Green Special – a Vai-ified tribute to Brian May’s Red Special.

But given how Vai’s imagination ran amok with the Hydra, who’s to say he doesn’t have another mystical beast up his sleeve? Maybe he’ll go microtonal like Angine de Poitrine...

Ace Frehley’s iconic 1975 Gibson Les Paul just went under the hammer for $512,000 as part of auction house Julien’s' recent “Music Icons” sale.

Nicknamed “Budokan” after Kiss’ four shows at Tokyo’s legendary Budokan Hall in 1977 – which broke the attendance record set by The Beatles – the triple ’buckered, Cherry Sunburst model was a constant companion during Frehley’s tenure with the band.

“Ace used it to record the Kiss album Love Gun in May of 1977 and continued to use it on tour as his main guitar through 1979, when it was relegated to back-up duty,” specifies the listing.

The guitar saw less frequent stage time during 1980’s Unmasked Tour through to the end of Frehley’s tenure in the band at the tail end of 1982. He continued to use it post-Kiss, however, even modifying it to replace the bridge pickup with a black humbucker and installing a chrome Washburn Wonderbar vibrato system with a matching string retainer at the nut.

The guitar was eventually restored to its former specs and even spawned a series of high-end signature model collaborations with Gibson.

In 2011, Gibson unveiled a limited Custom Shop replica of this very guitar, offered in both Aged and VOS versions, alongside a Gibson USA release.

Several of Frehley’s other guitars were also sold during the auction, and even exceeded their initial projections.

These included his modified 1996 Gibson Les Paul Junior “Flasher” light show guitar – customized by Sammy Sanchez – which went under the hammer for $57,600; a 1997 Gibson Signature Les Paul Custom artist prototype that Frehley played during the Super Bowl XXXIII pre-game show, which sold for $76,800; and his 1995 MTV Unplugged Epiphone PR 7E/RS acoustic, which fetched $28,800.

For the full rundown of items sold, including guitars owned and stage-played by Eddie Van Halen and Johnny Cash, visit Julien’s.

What is it?

The last 15 or 20 years have been a period of remarkable growth for extended-range guitars. From a time when seven-string guitars were a relatively uncommon sight, we now find many mainstream manufacturers’ ranges creaking under the weight of sevens, eights and baritones. To outsiders, it'd perhaps seem a niche market, but social media and the modern metal scene beg to differ – extended-range guitar is big business.

Within the subculture, more and more players are adopting multi-scale designs. For seven-strings, and particularly eight-strings, this is desirable as it creates more correct tension for each string.

The two lowest-pitch strings on an eight-string ideally need a longer scale to keep them taut – or you'll need strings the size of bridge cables to stop them flopping around like overcooked noodles. But the top strings don't really need any more length, or they might feel too tight.

A fanned arrangement is the answer; companies such as Strandberg have played a huge role in the mainstream acceptance of multi-scales over the last decade or so. Now, many other brands are on the same page.

For a brand that commercially pioneered both the seven and eight-string electric guitar, though, Ibanez could be accused of being over-cautious with its offerings to the multi-scale ERG market so far. Bluntly, they’ve often lacked the flair one would expect from a brand with such a history of adventurous, risk-taking design.

At NAMM 2026, however, things changed. A wild new shape, a high-end feature set, and dazzling metallic finishes, at a price point above many other Ibanez models. A statement of intent, the Alpha attracted a great deal of attention; not all positive.

Specs

• Price: $2,666 | £1,859 | €1,999
• Made: Indonesia
• Type: Multi-scale eight-string electric guitar
• Body: American basswood
• Neck: 5pc maple/walnut, Parallel Wizard asymmetrical profile
• Fingerboard material/radius: Ebony, 508mm/20”
• Scale length: 648mm (25.5”) - 698mm (27.5”)
• Nut/width: Plastic, 55mm
• Frets: 24, jumbo, stainless steel
• Hardware: Mono-rail G2 bridge, Gotoh MG-T locking tuners
• String spacing at bridge: 10.8mm
• Electrics: Fishman Fluence Modern bridge/neck pickups, Volume, Tone, 3-way Voice switch
• Weight: 6.8lb/3.1kg
• Left-handed options: None
• Finishes: Coral Mirage (CMG) (as tested), Iron Pewter (IPT)
• Case: Ibanez gig bag included
• Contact: Ibanez

Build quality

Build quality rating: ★★★★☆

Ibanez, of course, has previous with radical body shapes – just look at the original Iceman of the mid-1970s – but this new design appears to split opinion like few Ibanez models before it.

It’s easy to see why; the shape is angular and esoteric, perhaps looking as if it were designed with one eye on a future headless variant. Some eyes are drawn to it, some repulsed - I find myself in the former camp, personally.

The color of this review sample is the glittery, eye-catching Coral Mirage, pinkish-red in stock photos but rather darker and more purple in person. It feels a good match for this extroverted shape. The sharp, exaggerated contours make more sense seen in 3D, too.

The A528 isn’t feather-light, but it’s certainly a comfortable weight. There’s method in the madness of that shape too – it sits well in a Strandberg-esque ‘classical’ seating position, encouraging a relaxed, healthy playing posture.

Then, there's an asymmetric variant of Ibanez’s famed ultra-thin Wizard neck. Attached via three screws with a little oval-shaped steel plate, it’s a very snug fit with the body.

Playability

Playability rating: ★★★★½

The Alpha’s neat, stylized take on the traditional Ibanez headstock bristles with eight Gotoh locking tuners, and there’s a ‘mono-rail’ bridge setup; eight individually-mounted saddles corresponding to the fan of the frets.

That fan is wide, with a 25.5” scale top E, down to 27.5” for the low F#. The neutral fret (the straight fret from which the fan radiates out) is at the 8th fret. Previous Ibanez 8s have had a 12th-fret neutral point, creating an unusually steep rake toward the nut, so in theory the Alpha should be more accommodating for those low notes.

That seems to be the case – the edge of the nut can still catch the fretting hand unawares from time to time, but even a newcomer to multi-scale ERGs would likely find the A528 comfortable, with an electrifyingly fast playing experience and a good degree of tension on that 27.5” low string.

Even an aggressive modern metal approach doesn’t cause too much string flap; going up a string gauge for the low F# would improve matters further.

Sounds

Sounds rating: ★★★★★

Fishman Fluence Modern active humbuckers are an expensive choice, no doubt adding significantly to the ticket price, but these are something of a standard-bearer for ultra-modern metal tones; they’re the pickups that many buyers would doubtless swap in anyway. There’s a mini-switch to toggle the three settings – two different humbucker sounds and a split-coil mode.

I ran the A528 into my Line 6 HX Stomp setup; digital is the go-to for the majority of eight-string players. I prepared an extended range-specific tone - those low strings necessitate serious control over the bass and low-mid frequencies to prevent things from getting muddy; a tight noise gate is de rigueur too.

The first voicing on the Fluence set is a punchy, mid-forward and defined active humbucker sound, as you might expect. It’s a wall of sound, ideally voiced for contemporary high-gain.

The middle voicing is a little more subdued, and I found myself using it less – it would undoubtedly serve well for cleaner humbucker tones though, should those be required.

The trump card is the noiseless single-coil voicing – a wiry, twangy snap that is nothing short of a sonic weapon when used with an aggressive distorted tone. For eight-string playing this might, in fact, be the pick of the three voicings. That it’s also a godsend for atmospheric clean-toned playing is the icing on the cake.

Verdict

Ibanez has found its multi-scale mojo with the Alpha series – the price might be chunky and the looks divisive, but the spec sheet, the build, the playing experience and the sonic delivery are tough to argue with.

Hopefully its qualities will inform further Ibanez extended-range models, as the A528 is a seriously impressive instrument.

Guitar World verdict: The A528 is the most compelling and well-rounded multi-scale offering Ibanez has released yet, and by quite a margin – the playability, ergonomics, and sounds are all top-notch. If you can get on with the aesthetics, it’s surely among the best eight-strings at its price.

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• Best 8-string guitars: embrace the low-end with our djent-friendly electrics for all budgets

Both of these guitars were 1967 prototypes for a lighter version of the Telecaster that became the Thinline. The spruce-fronted model doesn’t have f-holes, but it is fully hollow, except for a block in the area where the bridge mounts, and it barely weighs 3lb.

It has three-ply binding on the front and single ply on the back, so it’s a little fancier than a regular Telecaster Custom. The spruce doesn’t have eight grain lines per inch or anything like that, but it’s not bad. There’s some lacquer checking but no cracks, and the zebra wood back looks fantastic.

The string ferrules are sunk into the body, and by 1967 they weren’t like that on production Telecasters. There’s also a little metal plate at the end of the heel where they mounted the strap button; the sides are so thin that the button would have pulled straight off the guitar if it was in its usual position. The sides are stained dark brown, so I can’t tell what they’re made from, but the thinness explains why there’s no jack plate or cup, and the jack socket is fixed through a drilled hole.

The maple-cap neck has a very standard C-shaped profile for the transitional logo period, and the control circuit is just regular Telecaster spec for the post-1966 era. There’s no trace of wax potting, so it’s possible the pickups were lacquer potted and they’re extremely microphonic.

It’s a fancy guitar that was made to make an impression. I suspect Fender decided against building Thinlines with this specification because they would have been too expensive to manufacture. Instead, they went for ash and mahogany, and sometimes combinations of both.

Despite appearances, I think the green prototype is far closer to what Fender was trying to achieve and it has a lot of interesting features. The bridge and vibrato are from a Mustang, and they cut down a Telecaster bridge plate then elevated it on three rubber bushings. I can’t imagine why they experimented with a decoupled pickup holder, but it actually plays really well and sounds exactly like a Thinline Telecaster.

The neck is a Jazzmaster blank with crushed pearl inlays and a no-decal headstock face that’s painted green to match the wildwood ash body. The sides are painted Sherwood Green and the fretboard is heavily lacquered. It has faded very slightly, but the colour remains strong.

With two f-holes, I think they struggled with mounting the controls, and there’s a huge three-way toggle switch – I’ve never seen one on any other guitar, but it’s good quality. The strings load through the body and it has a standard jack cup. I think they just decided to make this prototype with whatever parts they had laying about the shop.

Apparently, Fender had to source the coloured wildwoods overseas because the environmental protection agency prohibited injecting dyes into living trees. This could be an old wives’ tale, but I’m told the wood came from Sweden or Switzerland. This guitar is also light, but the additional components and the fact that it’s not spruce make it heavier than the other one. I can’t say I find it attractive, but I do find it very cool.

Roger Rossmeisl had been put in charge of making a lightweight Telecaster and he originally planned to make a very small archtop, but the cost factors would have been too great. Phil Kubicki [was made assistant to Rossmeisl in the R&D department] at Fender in [the late ’60s], and I think both these guitars reek of his work.

I’ve owned quite a few guitars made by Phil and I can recognise the patterns. The green one may not have been the final Thinline prototype, but I can guarantee it was close to the end of the process.

I’m sure when they made the body, they routed out the cavity and glued the back on last. When we had to pull the pots out to verify the dates, it took way over an hour because everything had to exit through the bridge pickup hole. Both read as the eighth week of 1966, which is pretty common because Fender bought a huge number of pots that were made that week and used them for years afterwards.

Fender would often hang onto prototypes for a very long time, and a lot of them ended up getting dumped onto the market in the late ’70s and early ’80s. That’s when they started appearing in books, but I’ve never seen any others like these two.

• Vintage guitar veteran David Davidson owns Well Strung Guitars in Farmingdale, New York / 001 (516) 221-0563
• This article first appeared in Guitarist. Subscribe and save.

Few things are certain in this world. But we all know the sun will rise in the east, tides will rise and fall, and if you wait around long enough, Harley Benton will launch a budget S-style guitar with a price tag that defies belief.

Yes, the budget gear powerhouse is at it again, resurrecting its ST-Modern HH dual-humbucker S-style, giving it some really smart finishes, compound radius fingerboards, and a premium tone wood build, with solid American alder bodies complemented by roasted Canadian maple necks.

All this for approx $185, it’s a pretty sweet deal. These all have string-through hardtail bridges. No messing around with the whammy bar here.

And Harley Benton is making an occasion of it, with this feast of S-styles also including the launch of a right-handed version of an ST-Modern Plus HSS in Dark Purple Sparkle – hitherto, it was an exclusively southpaw finish option.

This shares a lot of design DNA with its HH siblings, with a solid US alder body, in that distinctive – and much talked about – double-cutaway shape, and this being a “Plus” model, a little more premium, we’ve got a roasted Canadian flame maple neck that is bolted to the body in the traditional style.

Again, there’s a compound radius fingerboard; these all measure up with a performance-friendly 12” to 16” radius and have ergonomically sculpted heels.

Indeed, there is a hot-rodded vibe throughout, in the colours and in specs. All have the truss rod adjustment wheel mounted at the summit of the fingerboard, taking some of the pain out of setup tweaks (c’mon, taking that truss-rod cover off the headstock, remembering where you put the screws, it’s a pain in the bahookie).

Isola Hydrazine sounds like a sinus medication but it’s what Harley Benton calls the ST-Modern’s humbuckers. They’ve got an Alnico V design and are hooked up to a three-way pickup selector, volume and tone controls, and there is a push/pull function on the tone pot so you can split the coils for some single-coil spank.

On the ST-Modern Plus HSS, you’ll find the more upscale VR-Nitro pickups, again, an Alnico V design. These are hooked up to a five-way blade-style selector switch, with volume and tone controls, and yes there is a coil-split again to make this one versatile S-style.

We also have some quality hardware by way of the Babicz FCH 2-Point Z-Series vibrato unit, and a set of locking tuners. Expect to pay $408 at Thomann for one of these.

This will feel a little different to the HH models. The HSS has a Modern D profile, a little more wood on the shoulders. A Modern C profile is found on the HH electric guitars.

The ST-Modern HH is available now in Radiant Red Metallic, Desert Metallic, Tangerine Metallic, and Purple Metallic.

It's a timely release. With all eyes in the guitar world currently on Fender's much-discussed cease-and-desist campaign – which is going after firms that have their own version of the classic silhouette – this is a good reminder of the sheer choice available in the S-style market.

For more details, head over to Harley Benton.

What is it?

I can’t imagine many people had an Ed Sheeran baritone guitar on their bingo cards after he hooked up with PRS back in 2019, but that’s exactly what we’re looking at today with the PRS SE Ed Sheeran Hollowbody I Piezo Baritone. It’s Ed’s first signature electric guitar ever, never mind his first with PRS, and it has certainly taken the guitar community by surprise.

If you’re a racing fan, you may have spied Ed using a Rosso Corsa baritone in the video for his song ‘Drive’, a guitar which he had custom-built specifically for that song by PRS. It’s a pretty different instrument in terms of spec, but the interest in the guitar from that video is what led to the development of the SE model we see today.

The SE Ed Sheeran baritone features a hollow body design with a flat back composed of a maple top and a flame maple veneer, and a mahogany back and sides. It features a center block, and the top is a shallow violin carve with a cream binding, accompanied by dual f-holes that don’t feature the binding of the popular Hollowbody II models.

The neck is maple, shaped to the usual PRS Wide Fat profile. It’s got a rosewood fretboard with a 10-inch radius, cream binding that matches the body, and the classic PRS Bird inlays. It’s a set neck with a 27.7-inch scale length to ensure it can handle the lower tunings of a baritone.

The tuners are PRS-designed and feature ‘winged’ buttons that are wider than the usual ovals I’ve come across on PRS guitars. The bridge is a PRS adjustable stoptail with a PRS/LR Baggs piezo under the saddle, and the pickups come in the form of two 85/15 “S” humbuckers.

Separate volume controls for the piezo and magnetic pickups are combined with a master tone control and a 3-way toggle switch selector. There are two output jacks that offer a mix of piezo and magnetic pickups or magnetic pickups only.

Specs

• Launch price: $1,499 | £1,499 | €1,799
• Made: Indonesia
• Type: Six-string hollow body baritone guitar
• Body: Maple top with flame maple veneer, mahogany back
• Neck: Maple set neck / Wide Fat profile
• Fingerboard: Rosewood
• Scale length: 27.7", 703mm
• Nut/width: PRS synthetic / 43mm
• Frets: 22, PRS standard fret wire
• Hardware: PRS-designed tuners, PRS adjustable stop tail piezo bridge
• String spacing at bridge: 52mm
• Electrics: 2x 85/15 “S” humbuckers, magnetic volume, piezo volume, tone control & 3-way toggle pickup switch
• Weight: 6.6 lbs / 3 kg
• Options: N/A
• Left-handed options: N/A
• Finishes: Orange Tiger Smokeburst (as reviewed), Kaleidoscope, Pink Ombre
• Cases: PRS gig bag
• Contact: PRS

Build quality

Build quality rating: ★★★★½

As with every PRS SE guitar I’ve come across over the past few years, the build quality here is close to faultless. A close inspection reveals a very small spec of black in the binding on the bass side, where the neck meets the body, and on the treble side at the same point, there’s what looks like some paint bleeding over onto the binding. That aside, I can find nothing out of place in terms of the aesthetic.

It’s got a decent heft to it, even with the hollow body construction, coming in at 3kg on my scales. It all adds to the feeling of solidity, though. On the lower cutaway, there’s some sculpting to help you get at the upper frets more easily, while on the reverse of the guitar, a very slight belly cut aids the comfort factor. The knobs are well applied, and the toggle switch moves with a firm and satisfying click through its three positions.

Looking at the output jack, unusually, there are two outputs, with one marked ‘mix/piezo’ and the other marked ‘mag’. Both are marked so that when you look at them from the playing position, the writing is the right way up, which is a nice touch. There’s a compartment that houses a 9V battery which powers the preamp of the piezo system, although this is only engaged when plugged into the ‘mix/piezo’ jack, so you can use it as an entirely passive instrument with the other output jack.

Playability

Playability rating: ★★★★½

Sitting down to play the Ed Sheeran Hollowbody baritone on the sofa, the neck feels pretty hefty compared to the standard-scale guitar I’ve been playing before it. It’s not quite a baseball bat, but it’s not far off either, feeling very full in my hand as I strum some open chords. It’s certainly not giving me the ‘shredders’ part of the marketing material around this guitar as I try some legato and three-note-per-string runs.

Trying out some lead work, I can get around pretty quickly, but it’s not quite slinky enough for proper shred stuff. Jumbo frets might have helped here, allowing me to get around the fretboard a bit quicker, but as it is out of the box, I’d be hesitant to call this a shred guitar. Getting my ruler out to quantify that feeling, the action measures around 2mm, so there’s definitely potential for improvement here in that regard.

Bending isn’t as hard as on some of the baritones I’ve played. It’s pretty easy to get a full tone out of it with a supporting finger or two, and I don’t feel as though I have to really fight to eke those out. It does take a bit of adjustment to nail that 22nd fret bend, as my hand naturally hits the non-sculpted part of the cutaway. A little tilt as I reach for that fret solves this, however, and it doesn’t take me long to start accurately hitting it on a consistent basis.

Changing the tuning to drop A and pulling out some ‘Ashes of the Wake’-era Lamb of God riffs, it’s very satisfying indeed to play. The thicker neck profile makes for a nice anchor when alternate picking and digging in with palm muted riffs, and it’s super satisfying to chug along with. Although the scale is comparatively long compared to a normal PRS, it doesn’t feel ginormous, offering a nice balance between length and string tension with the 14-68 gauge strings that come on it from the factory.

Sounds

Sounds rating: ★★★★½

Keen to try the piezo pickup, I plug it straight into a Fender 64 Princeton reissue to see what the clean tones are like. Starting with just the piezo pickup engaged, it sounds great on the treble end of the fretboard, with very little of that ‘plink’ you might expect from this kind of pickup. The low stuff isn’t quite as nice though. It feels as though the piezo struggles to pick up the low string, which results in it getting drowned out when I pick some arpeggiated open chords.

Bringing in the magnetic pickup adds some more of the low end back in, giving it a fuller sound overall. When I switch to the neck humbucker with the piezo and both volume knobs on full, it’s an absolutely delightful tone blend of high-end from the piezo and warm tones from the neck humbucker, that leave me picking arpeggios for a long time. With some spring reverb and a gentle touch of tremolo from the amp, it’s clean tone heaven.

The tone control only affects the magnetic pickups, and rolling this off when combining with the piezo adds huge versatility to the guitar. Switching back to just the neck humbucker makes it feel almost dull in comparison, but that’s also partially because adding the piezo in also increases the overall volume of the guitar, and for the human ear, louder equals better.

Sticking my Joyo Klon clone in front of the amp and dialing up the volume, I find a very smooth lead tone from the humbuckers. Even with some drive applied to chords, they ring out very clearly, but that changes when I add in the piezo. Here, it feels a bit overwhelming, with the individual strings getting lost thanks to the extra high-end the piezo adds. It also makes itself a bit too present on lead work, with that piezo pluck enhanced by the addition of overdrive in the signal chain.

Turning up the gain on the amp and on my overdrive pedal, slow, doomy power chords sound really powerful, and here adding in the piezo gives them some more clank that really suits that particular type of sound. Excited to see if this thing can djent, in lieu of an actual high-gain, metal amp, I switch to my audio interface and Nolly’s Neural DSP plugin.

With the 5150 model selected and the bridge humbucker engaged, there’s a definite metal rhythm tone available here. The low tuning naturally helps some, but the mid-gain of the pickups means it stays pretty articulate. I have to mess with the settings a bit to get it as tight as I’d like, but it’s more than usable for tracking chugs. It works great for leads, too, maintaining that smooth sound and feel when I add some reverb and delay.

Dropping the low string all the way down to an octave below ‘E’ (like a standard bass), it stays surprisingly stable for some djent tones. With the humbuckers on their own, there just isn’t the definition for this type of riffing, though.

Adding the piezo in brings back some clarity, with that clankiness that marks the sound of a lot of down-tuned modern metal. While it can handle these tones, I don’t think it’s all that usable, as it doesn’t have the natural compression of a set of active pickups, making it very difficult to control any extraneous noise with a high-gain amp.

Verdict

I can see the PRS SE Ed Sheeran baritone finding fans across different genres, provided you can get past the name on the headstock. If you’re willing to look beyond your prejudices, you’ll find a very well-made guitar with a playable neck that’s capable of a wide variety of different tones.

While the marketing speak of singer-songwriter to metal head holds true to some degree, it’s not quite capable of proper djent tones and super shreddy stuff, thanks to the pickups and the neck profile. That said, for pretty much any style, you’ll find a sound here, and perhaps some truly unique ones once you start blending in that piezo pickup.

Guitar World verdict: It might be the guitar that no one expected, but the PRS SE Ed Sheeran Hollowbody I Piezo Baritone is a very capable machine indeed. From the typical quality PRS build to the added versatility of the piezo bridge, it’s a guitar that can indeed be a singer-songwriter’s tool, or a guitar for chugging metal. It may stop just short of being a shred machine or a true tool for djent riffing, but it still allows you to cover a lot of ground.

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Hands-on videos

John Nathan Cordy

Andrew Baena

The recent 70th and 75th birthdays of the Fender Stratocaster and Telecaster, respectively, have highlighted how little the electric guitar recipe has changed in the best part of a century.

Tosin Abasi, though, has been intent on shaking up the industry, masterminding a raft of boundary-pushing instruments that look to rethink what is possible with guitar design.

His namesake brand, Abasi Concepts, has proven to be both an industry disruptor and a trendsetter, with Ibanez’s Alpha series seemingly taking its cues from the future-minded, progressive Larada metal guitar.

Abasi also designed the weirdly wonderful Kaizen guitar with Ernie Ball Music Man, and with it, the Animals As Leaders guitarist wanted to swerve away from decades-old design features.

“We thought it would be cool to try something novel as opposed to the traditional sort of signature thing,” Abasi tells Guitar Center CEO Gabe Dalporto of their collab. “It was an opportunity for me to make a Music Man that I felt didn’t exist.”

Naturally, that meant doing things differently, and Abasi is ready to fight pushback against its alien-like qualities.

“The guitar space is really interesting, ‘cause the most iconic instruments have been kind of crystallized since the ‘60s,” he says. “It’s a strange argument because a lot of guitar players get in their mind, like, ‘Oh, well, Jimmy Page was fine with that, so I guess I don’t need more fret access. I don’t need better balance.’

“It’s this very interesting balance of designing the guitar further to feel like you’re benefiting from the design without leaving behind the bones of what makes a guitar feel gratifying,” he adds.

There are plenty of radical specs on the Kaizen, from its ultra-thin body – because “it shouldn’t get in your way at all” – to its multi-scale, Infinity Radius fretboard for enhanced visibility. It flies in the face of traditionalism.

“The Infinity Radius prevents the need to tilt the guitar [to see the fretboard better],” Abasi says, crediting Music Man’s Drew Montell for the idea. “The strings fall a little bit more effortlessly where you want them.”

The multi-scale configuration also sees the bass side getting a standard 25.5” scale, but a shorter 24.75” scale for the treble end, making guitar solos and widespread legatos easier to nail.

It’s a lot of change, but Abasi believes they are all “subtle”, collectively pushing the traditional guitar design forward and only requiring a short adjustment to get used to.

In related news, Guitar Center CEO Gabe Dalporto is launching an in-house guitar brand of his own – and he's hit back at the skeptics that have criticized his novel approach.

What is it?

In the annals of cult classic Fender offsets, the Bass VI – an oddball, six-string guitar/bass hybrid – is probably up there as one of the most recognizable and widely beloved. This is, after all, the instrument that was championed by John Lennon and George Harrison. Robert Smith used it with The Cure. Joe Perry, Jack Bruce, Jet Harris… the list of notable Bass VI fans goes on.

What makes the Bass VI so intriguing is its mashed-up design brief. Look at it from a distance, and it resembles a Fender Jaguar with a third pickup. Get up close with one, though, and you’ll realize it’s anything but. Instead, it’s a de facto six-string bass guitar, but proportioned accordingly to resemble the feel, style and playability of a conventional electric guitar, tuned to standard a whole octave down.

The result? A truly unique build that feels both familiar and alien at the same time – something that isn’t quite a bass guitar, nor is it anything like your standard electric guitar. It all makes for interesting reading on paper – and an interesting playing experience when you have one in your hands.

But for all its big-name players, the Bass VI has remained something of an enigma in Fender’s inventory. It’s seemingly both the guitar that every curious string-plucker wants to try, yet at the same time one that is lesser-spotted due to its on-off inclusion in Fender's catalog.

Thankfully, as part of the bumper Vintera III launch earlier this, Fender rolled out what we have here: the Vintera III Early ‘60s Bass VI.

Available in 3-Color Sunburst, Olympic White and Candy Apple Red, this Bass VI is said to be a faithful reissue of the original, with specific ‘60s Bass VI pickups, a floating tremolo, and other “era-correct details”.

We’ve seen a few reissued Bass VIs in the past – Fender Japan relaunched a version in the '90s, Fender's Custom Shop honored it in the '00s before production models in the Pawn Shop (2013) and Vintera II (2024) saw it join the line-up once again.

Along the way, Fender has offered a more affordable version - in the Squier Classic Vibe Bass VI, indeed, it eclipsed the Precision Bass as Fender's best-selling low-ender of 2022. Currently, though, (at least on paper) the Vintera III version is the best new Bass VIs money can buy. But just how good is the ‘best’?

Specs

• Launch price: $1,499 | £1,249 | €1,449
• Made: Mexico
• Type: Six-string electric guitar / bass guitar hybrid
• Body: Alder
• Neck: Maple / Early '60s "C"-Shaped Neck
• Fingerboard: Rosewood, round-laminated / 7.25" radius
• Scale length: 30" / 762mm
• Nut/width: Bone / 42 mm
• Frets: 21
• Hardware: Vintage-style tuners / 6-saddle vintage-style adjustable bridge / “Floating” tremolo w/ pop-in tremolo arm / Fender rubber mute system
• String spacing at bridge: 54mm
• Electrics: Vintage-style Early '60s Bass VI Pickups / master volume & tone / x3 on/off pickup switches / x1 low cut switch
• Weight: 9.7lb/4.4kg
• Left-handed options: N/A
• Finishes: 3-Color Sunburst, Olympic White, Candy Apple Red
• Cases: Yes, Fender gig bag
• Contact: Fender

Build quality

Build quality rating: ★★★☆☆

Building something like the Bass VI must be a tricky feat to pull off. How could you possibly marry the longer-scale, low-tuned vibe of a bass guitar, with the feel and general playability of an electric guitar? How do you then give it six-strings, style it like a Jaguar, and package it all in an instrument that actually performs how it’s supposed to?

Well, in the case of the Vintera III Bass VI, you do it with great difficulty – and there are some glaring issues that stem from this mammoth task that threaten to derail the whole experience. But first, the good: this Bass VI example is, at least visually, impeccably styled. My review guitar has and postcard-perfect Olympic White finish that looks killer, and to its credit everything is in fine working order.

The switching system is good, the volume and tone controls have a nice responsive sweep, and the gloss neck feels premium but not sticky. The fret ends are smooth and nicely treated, the rosewood fingerboard here looks dark and lush, and the rubber mute system – which sits just under the bridge – is a nice addition that works as it should.

But such positives are joined by some negatives when you start to play. For one thing, those vintage-style tuners struggle under the sheer weight and tension of those bass strings. The higher strings cope better, but that low E string really needs some elbow grease to get moving.

And perhaps most damning of all, the bridge saddles Fender has used here really let the whole thing down. As opposed to having single slots a la regular bass guitar saddles, these opt for a period-correct threaded design. Fine, but the threads are simply not wide or thick enough to accommodate such thick strings. That means the strings, especially the thickest three, are prone to move about the place.

If you pick or strum too hard, the E and A strings could end up anywhere along the bridge, affecting string spacing and pulling it out of tune. This then makes it harder to navigate what is already a pretty tricky fretboard to get around (more on that later), reducing the already-small gap between rather thick strings and causing all sorts of problems.

And there’s another knock-on effect. The saddle is so unstable, and the break angle over the bridge for the E string is so desperately shallow, that the lowest string is practically unusable straight out the box. Playing it open, there’s a hideous buzz from the bridge. Worse still, I fret every note on that bottom string, and not a single one sounded correctly – everything choked out and buzzed.

Engaging the mute can help soften the blow, but the mute is so effective in dampening the sound that it almost cuts all the life out of the instrument.

Now, this can be adjusted with a raise of the bridge saddle – or, even better, a completely new bridge. But it’s such a disappointing and frustrating fix to make for a guitar that costs $1.5k.

Because of the sheer weight, tension and proportion of this thing, you’re then probably looking at neck shims to compensate for the higher action… and that’s a can of worms I’d like to keep closed with this Bass VI.

Playability

Playability rating: ★★★½

This is an absolute beast to get around, and the biggest compliment I can give it is, it does a fine job of channeling the feel of a regular guitar. The 30” scale length doesn’t feel too cumbersome, adopting a short-scale bass length, four inches shorter than full-scale, and the era-correct Early ‘60s C-shaped neck doesn’t feel too far removed from the profile of my 1961-inspired Strat.

As mentioned, the gloss finish of the neck isn’t too sticky or tacky to the touch, meaning you can make your way up and down the sizable neck with relative ease, and the enlarged offset body distributes the weight effectively when standing and sitting with it.

What doesn’t come as easy, though, is navigating the fingerboard, which can feel quite cramped given strange bass/guitar hybrid layout. The strings here are really thick, and given the nut width (42mm) and radius (7.25") is the exact same as a traditional Fender Jaguar, that means there’s the same amount of real estate for the thicker strings to compete for.

As such, it all feels weirdly bunched up to play like a regular guitar, and far too close to behave like a standard six-string bass. It’s not really great at strumming usual chords, or ripping through solos, nor is it as effective as a regular bass at churning out classic basslines. I found the register far too frumpy for the former, and rather flimsy for the latter.

That’s not to say you can’t do any of that – the Beatles used it for progressions, famously, and utilized it for many basslines – but it won’t really excel at either of those things.

But on the flip-side, that all just means you have to get creative with how you approach this. After giving up on trying to use it to pad out some demo recordings with regular chord shapes and lead melodies, I began using it as a tool to explore more textural sounds – double-stops, arpeggios… that sort of thing.

Furthermore, it’s an excellent utility tool to have around. I've used it for double-tracking basslines, and it's also a great tool for progressive riff writing. Misha Mansoor’s insanely expensive Surfcaster reissue was inspired by his love for the Bass VI, and you can see why.

Thumpy single-note riffs hit really nicely, and when supplied with some experimental and textural effects, you can get really creative.

Elsewhere, from a practical standpoint, the ergonomics are excellent and the control layout is intuitive. It’s easy to operate the pickup switches – of which there are four – and the master volume and tone knobs are within easy reach for tweaking.

It all comes down to expectation. I wasn’t expecting this to exactly do the bass/guitar thing, but even I was surprised with what the final version feels like. But if I were to give this a bridge swap, and use it for a specific purpose, I could see its merits.

Sounds

Sounds rating: ★★★★☆

The pickups used here are “Vintage-Style Early '60s Bass VI Pickups”, designed to deliver the “deep and growling, rich and articulate tones” you’d expect from a Bass VI. The thing is, such is the novelty of this instrument, I’m not sure many players out there will even know what to expect from a Bass VI. I certainly wasn’t too prepared.

That said, I was quite surprised. These definitely aren’t regular Jaguar single-coils shoved into a bass guitar. There’s a bit more oomph, unsurprisingly leaning into the lower register, that is present across all three positions.

In practice, there’s an on/off switch per pickup, as well as a Low Cut switch that channels a more focussed, mix-cutting tone. That latter function is the MVP of the Bass VI, and can help turn some pretty run-of-the-mill low-end sounds into genuinely useful and inspiring tones.

When played clean, there’s a passable amount of nuance between the positions to offer a decent spread of thumpy low-end and brighter jangles, and I had some success when combining the various single-coils – even if some, such as the neck and middle together, were a tad washed-out and muddy, especially when gunning for a usable rhythm tone.

That said, when a bit of fuzz or distortion is introduced into the mix the articulation and character of each pickup is easier to discern. As such, I found myself having a bright, always-on transparent overdrive – my JHS Pedals Morning Glory with the Tone at full whack – to help eke out some extra brightness and definition that the pickups needed.

Verdict

The Fender Vintera III Early ‘60s Bass VI is an interesting concept that, despite offering an incredibly inspiring and unique playing experience, is slightly flawed in its execution.

For the price of $1.5k, you’d expect an instrument to be dialed-in and ready to go – regardless of all the moving pieces and challenging design hurdles that comes with something like this.

Instead, I was disappointed with aspects of the Bass VI’s reality. That much fretboard and bridge buzz from the $1.5k guitar is unforgivable, even with the unique setup. The playability shortcomings are an occupational hazard, but they’re still worth considering. Don’t expect to take to this as easily as an electric guitar.

Despite this, the hurdles highlighted here won’t by any means be a complete deal breaker for some, and those who are willing to part with that much cash for such a niche instrument will most likely be attuned to its shortcomings.

It does a very particular sound rather well and, if given the proper remedial measures to sort out the buzzing and playability problems, I could see this is a valuable – but certainly not indispensable – tool to add to your arsenal. The Vintera III Early ‘60s Bass VI was made for Bass VI fans. It might be wise for the rest of us in search of additional color with a lower risk to look towards the more affordable Squier Classic Vibe Bass VI.

Guitar World verdict: Ambitious in its vision, flawed in its execution, the Vintera III Early '60s Bass VI has some good qualities, but overall there are some glaring issues that seriously hamper the overall experience.

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Fender

Sweetwater

Leon Todd

PRS has been confirmed as one of the firms that has received a cease-and-desist letter from Fender in its bid to enforce legal protection for the Stratocaster.

After it was revealed that Fender had launched a new legal campaign to protect the Strat design off the back of a default copyright ruling in Germany, speculation began to emerge over the identities of those affected.

Until now, LsL Instruments was the first and only company to go on record to confirm it had received such a letter, which called for the company to halt production of its S-style electric guitar, the Saticoy.

However, many commenters, including Phillip McKnight, hinted that multiple US builders had been issued a cease-and-desist letter, prompting widespread rumors concerning the specific models that might be in Fender’s crosshairs.

The PRS Silver Sky – John Mayer’s hugely popular, best-selling signature guitar, which was designed after the Continuum mastermind left Fender – was high up on the speculated list.

Now, it’s been confirmed via the Wall Street Journal that PRS has indeed received a letter from Fender.

In its own article, the WSJ wrote, “PRS Guitars, a company endorsed by the likes of John Mayer and Carlos Santana, confirmed that it is among the companies that received a letter. The company said it disagrees with Fender’s assessment and declined to comment further.”

In a statement issued to Guitar World before the news went public, PRS said of Fender’s legal campaign, “We are aware and investigating. No further comment at this time.”

The involvement of PRS and the targeting of the Silver Sky frames the entire conversation in a new light, and is a huge development in the S-style legal dispute.

In Fender’s response to the widespread backlash over its cease-and-desist strategy, the company strayed away from emphasizing the importance of the specific Strat body shape, stressing it wasn’t concerned with all double-cutaway/two-horned guitars and was instead going after close copies of the Stratocaster design.

However, both Fender and its attorney Bird & Bird failed to provide any characteristics of what they constitute to be a defining feature of the broader Stratocaster “design”, giving way to theories that aesthetic appointments – including the scratchplate shape and control layout – could be a greater consideration.

It now seems likely that this is the approach Fender is taking. The PRS Silver Sky has a different body shape to the Fender Stratocaster, with more refined contours and different proportions, including a scoop on the lower cutaway and longer upper horn.

Other differences included a slightly sloped-shouldered neck joint, and a sharper upper cutaway angle. Since Fender has stated it wouldn’t be going after all double-cutaway guitars, one would assume the proportions of the Silver Sky would render it safe.

As such, Fender is clearly banking on the similarities that can be drawn elsewhere, such as the pickguard – which mirrors the Strat’s a bit more closely – and other aesthetic considerations that gave way to the outpouring of Stratocaster comparisons when it was first released.

This has now become the highest profile case of the entire dispute, and could well be one of the most contested. Though many would no doubt concede the obvious similarities between the Silver Sky and Stratocaster, few would call it a ‘direct clone’ – the type of model Fender is supposedly going after.

To make matters more interesting, the Silver Sky has become a key player in the S-style market, wrestling over a huge portion of players into its ranks over the past few years. It is the Stratocaster’s closest competitor, the SE variant a direct rival to the Player range, the US model a rival to Fender’s more premium American-made Strats.

According to Reverb stats, the Silver Sky outsold the Strat in 2022 and 2023, and has consistently been among the best-selling guitars for the past three years.

Whatever the case, PRS has stated that it “disagrees with Fender’s assessment”, implying it fully intends to fight Fender and defend the Silver Sky.

It could very well define the entire legal dispute – and the outcome of Fender’s cease-and-desist strategy could rest on this case. We’ll bring you developments as they come in.

Fender has broken its silence over its ongoing cease-and-desist strategy, clarifying its position as it looks to enforce legal protection for the Stratocaster.

Last week, it was revealed Fender had sent cease-and-desist letters, allegedly to multiple US builders, as part of a renewed campaign to police its right to the Stratocaster body shape.

This action stemmed from a default ruling in the Regional Court of Dusseldorf, which sided with Fender and established “enforceable rights against any guitars using the Stratocaster body shape”.

It was reported that the resulting cease-and-desist letters called for those companies to halt production, recall product and destroy inventory.

The move sparked backlash from the guitar community, and Ron Bienstock – the attorney who defeated Fender in a high-profile trademark lawsuit in 2009 – was hired by at least one company to defend its position.

Now, for the first time, Fender has gone on record to explain its strategy, address concerns, and reveal who it is really going after.

Double-cutaways are safe

First order of business: double-cut guitars as a whole are not the target.

In a statement obtained by Guitar World, Fender explains it is not concerned with going after all “two-horned or double-cutaway” guitars, as has been speculated online. Instead, “the focus is on products that either closely or completely replicate the exact body design of the Stratocaster itself”.

According to Fender, third-party guitars “may share general design elements of a similar overall layout while remaining clearly distinct”, and these are not an issue.

It is instead going after “close copies” that it considers direct clones.

“Fender fully supports innovation and competition across the guitar industry, including such guitars with two horns and/or double cutaways,” the statement reads.

“Fender’s goal is simply to protect one of the company’s most iconic and recognizable designs while continuing to support a vibrant and innovative guitar industry.”

Guitar World has also obtained a copy of a response letter issued by Fender’s attorney, Bird & Bird, to Ron Bienstock’s initial reply to the cease-and-desist, which provides further detail.

This latest reply states: “Everybody is welcome and will be able to continue making and selling double cutaway and/or two horned electric guitars, as long as they are designed sufficiently different from the Fender Stratocaster.”

This shines some light on Fender’s endgame: it is addressing direct copies of the Stratocaster “design” rather than simply the double-cutaway body “shape”.

How that applies in practice remains to be seen, and what exactly constitutes a defining feature of the “Stratocaster design” isn’t explicitly stated by Fender or Bird & Bird.

Since this case doesn’t exclusively concern the S-style body shape, other aspects of the Strat body aesthetic could potentially be considered – for example, the scratchplate design and control layout.

The complete list of firms to have been sent a cease-and-desist letter, and which guitar models have been targeted, has yet to be made public – but we now have a better idea of who may be involved.

Collaboration over destruction

In its response letter, Bird & Bird also addresses Fender’s stance on demanding companies cease production. The law firm explains that companies can continue making guitars that are the subject of cease and desists provided they “change the design… so they do not look like more or less exact copies of the Stratocaster”.

In these cases, third-party guitars “would only require relatively minor design changes”, meaning Fender is seemingly unconcerned with removing these guitars from the market entirely – and willing to work with its rivals to reach this point.

Similarly, the company has downplayed talk of inventory destruction, labeling it a drastic last-resort measure, and instead pointing towards amicable alternative solutions.

In a clarifying statement obtained by Guitar World, Fender says, “Our focus has been on working directly with companies to find practical paths forward.

“Where there is cooperation, that can include transition or phase-out periods and concessions on monetary damages.

“Outcomes such as inventory destruction are not something we are seeking – they are legal remedies that may be considered in situations where infringement continues without engagement toward a resolution.”

Talks are already happening behind the scenes

Fender has confirmed it is already in settlement discussions with a number of firms, as laid out in the Bird & Bird response: “Many of the addressees of that initial communication have reached out to us… and have entered into reasonable settlement discussions on the premise that they will discontinue making and/or selling the 'Stratocaster' clones.”

The company is framing its legal efforts to target Stratocaster copies as supporting creativity and innovation in the guitar industry, while protecting the designs with which it made its name.

“Fender has tremendous respect for the guitar community, independent builders, and the creativity that continues to shape this industry,” says Fender CEO Edward “Bud” Cole. “At the same time, Fender has a responsibility to protect the iconic designs and brand identity associated with its instruments around the world.

“Protecting these iconic designs is part of Fender’s obligation as a steward of the brand, its legacy, and the authenticity musicians associate with Fender instruments.

“We remain open to engaging constructively with partners and companies across the industry as we navigate this process. Our goal is to protect that legacy while supporting a vibrant future for guitar makers, builders, and musicians alike.”

What next?

So, what does this all mean? Well, for one thing, Fender isn't aiming for a mass-destruction of all S-style guitars, and its endgame might not be as draconian as some commentators initially believed.

The shifting clarification away from the S-style "body shape" and towards a broader focus on the wider "design" is telling, too, and more revealing of the company's goal.

Of course, this is Fender’s position and by no means indicative of how the case will actually play out, if indeed it does become a protracted legal battle involving multiple firms – particularly since Strat-inspired guitars have been produced for the past 70 years, a key argument in the defense's case.

Whatever the case, in its follow-up letter, Bird & Bird has offered an extended deadline of June 8 for firms affected to issue their response.

We expect further correspondence between the parties involved by that date – we’ll bring you updates as we have them.

Jackson’s all-new signature guitar for Limp Bizkit’s Wes Borland is finally here, and it’s a recreation of his iconic King V that began life as a factory floor reject.

Built on a foundation of Borland’s “boundary-pushing approach to performance and tone” and promising “uncompromising power and raw sonic intensity”, the Pro Series Signature Wes Borland King V has been a long time coming.

Borland's affection for weird and wonderful guitars is well-known. Some of his past hits include a custom four-string guitar-bass hybrid from PRS, and the model that inspired this new signature – which started out as a left-handed factory reject.

Borland recalled the guitar's origin in a 2013 interview with Total Guitar, recalling how he stumbled across the oddball V while perusing a range of faulty builds. After coming across an unwanted southpaw model, he converted it to a right-handed configuration, and it became one of his Number One instruments.

So, yes, this new signature is a left-handed V flipped the other way around – exactly like Borland's original – and the Jackson logo on its pointed headstock remains upside down in honor of that.

Other key features include Seymour Duncan Invader SH8 humbuckers to deliver high-output tones and “razor-sharp clarity,” and a recessed Floyd Rose 1500 Series bridge, which can handle screaming dive bombs until the cows come home. The volume knob has also been kept well out of the way.

Built with a neck-through construction, which in turn gets graphite reinforcement, it can withstand whatever insanity Borland puts it through.

“It’s taking me a long time to figure out what I need as a guitar player,” Borland confesses. And who knew a simple error would lead him to such a unique trademark six-string.

“For me, you just need volume, pickups, a locking tremolo system, and 24 frets, that’s it,” he adds. “Live, it just needs to be as bulletproof as possible. I’ve come to realize that the more streamlined our guitars are, the fewer problems we have on stage.

“Jackson is fun, the over-the-top, shred-a-copter shapes, and my outrageous stage costumes pushing the boundaries, this fits in more with that. It’s fricking crazy; it’s about time!”

It was while recording Bizkit’s trash-tinged record, The Unquestionable Truth, in 2004, that Borland got his first Jackson, grabbing a used Rhoads V from a local guitar shop. That became “a big part of the album”, before producer Ross Robinson gave him his 1981 Jackson Rhoads, and his love affair with Jackson Vs has remained red-hot since.

“Wes Borland is unlike anyone else in nu-metal,” says Peter Wichers, Product Development Manager at Jackson Guitars. “Being involved in the development of his Signature King V has been an incredibly cool project, and I think that shows in every inch of this guitar.”

The Jackson Pro Series Signature Wes Borland King V KV is available now for $1,299.99 / £1,199 / €1,399.

See Jackson for more.

For those chasing every inch of Borland’s sound, the guitar will pair well with his signature STL plugin suite.

In 1988, Big Country decamped to Los Angeles to record their fourth album, Peace In Our Time, an attempt to capture the American rock market.

“I was in Norman’s Rare Guitars in LA,” says Big Country guitarist Bruce Watson, “when I spotted the Les Paul. I played it for hours in the shop and nearly bought it, but I also loved this ’61 Strat that was for sale. I had a couple of Les Pauls already, so I went for the Strat. I told Stuart about the Les Paul and he snapped it up.”

Stuart used the Les Paul for the recording of fourth album Peace In Our Time and for their gigs later that year in Moscow. The guitar fell into the hands of local man Niall Fairlie in 2004, quite by accident.

“A friend of a friend had it and I was looking for a good Les Paul at the time. When he opened the case, I was like [no hesitation], ‘How much do you want for it?’

The guy told him it had previously belonged to Stuart Adamson, but he took it with a pinch of salt. “And then I did a bit of research. Mup [Bruce’s guitar tech] said, ‘Is that the one from the Moscow show?’ and there was a Big Country roadie that worked for GuitarGuitar – he could describe the dink on the top before I even showed him it.”

Niall uses it in his cover band (“I bought it to play – it wasn’t going to sit on a wall or something”) and it’s also appeared on stage with Big Country: he loaned it to Big Country Redux singer Tommie Paxton for a concert in Dunfermline a couple of years ago.

• Stay Alive: The Life and Death of Stuart Adamson is out now via New Modern.
• This article first appeared in Guitarist. Subscribe and save.

What is it?

PRS Guitars might have just celebrated its 40th anniversary, but you still can’t help but smile when you open one of the company’s now-moulded guitar cases.

One of the true classic designs of the modern era, the PRS is defined by its elegant double-cutaway outline, its carved and vividly curly maple top and, typically, those bird inlays that pepper the fingerboard.

This writer remembers falling for its charms in the late ’80s at a far-from-glorious period for the electric guitar. It seemed like a reminder of a bygone time, a beautifully made musical instrument, not just a garish plank to support a Floyd Rose and a hot humbucker.

Just over four decades on, little has changed outwardly, although – of course – every detail has evolved to improve function, playability and, most importantly, sound.

Plug in an early mid-’80s PRS Custom and compare it with one that’s rolled off the production line in 2026 and you’ll see, hear and feel a colossal difference. Battling fad, fashion and economic upheavals over these past decades, PRS has stuck to its guns: ‘good’ is not good enough, and there’s always a better way to eke out another micro-percentage of improvement to better serve the musician.

David Grissom is one such musician who knows that better than most. A PRS player since the late ’80s, David was instrumental in the development of the crucial, more vintage-aimed McCarty Model, launched in 1994, which subtly changed the original PRS flavour and recipe.

His own signature model (with its working title of ‘McCarty II’) launched in 2007, and the DGT (as in ‘David Grissom Tremolo’) has been in production ever since – a real player’s PRS that has spawned an all-mahogany Standard version and (after a 200-piece limited edition announced in late 2024) this new full-production DGT Semi-Hollow.

In its Charcoal gloss nitro finish – one of seven offered including a Gold-Top – our new single f-hole model is priced the same as the solidbody DGT. Either DGT is the lowest-ticket maple-topped Core model in the 2026 line-up if you go for the less opulent-looking moon inlays, while a bird-inlaid version adds $/£320 to the full retail price.

Note that the DGT is the only Core PRS model still offered with moon inlays, which date back to the very first mid-’80s guitars. The third option comes with bird inlays, a 10-Top maple cap and hybrid (gold and nickel) hardware and will cost you a cool $/£5,540.

Specs

• PRICE: From $/£4,420 (inc case)
• ORIGIN: USA
• TYPE: Double-cutaway, carved-top solidbody electric
• BODY: 1-piece mahogany with figured maple top
• NECK: 1-piece mahogany, DGT profile, glued-in 
• SCALE LENGTH: 635mm (25”)
• NUT/WIDTH: Brass-infused, friction-reducing material/42.4mm
• FINGERBOARD: Rosewood, moon inlays, 254mm (10”) radius
• FRETS: 22, jumbo
• HARDWARE: PRS Gen II vibrato, PRS Phase III locking tuners (w/brass posts and faux bone buttons)
• STRING SPACING, BRIDGE: 52.5mm 
• ELECTRICS: PRS DGT Treble and Bass covered humbuckers, 3-way toggle pickup selector switch, individual volume controls and master tone (with coil-split pull-switch)
• WEIGHT (kg/lb): 3.12/6.86
• OPTIONS: The DGT starts at $/£4,420 w/ moon inlays. With bird inlays it’s $/£4,740; with bird inlays plus 10 Top/hybrid hardware it’s $/£5,540
• RANGE OPTIONS: The other semi-hollow 2026 Core model is the Special Semi-Hollow ($/£5,060)
• LEFT-HANDERS: No
• FINISHES: Charcoal (as reviewed), Dark Cherry Sunburst, Tiger Eye, Faded Blue Jean, McCarty Sunburst and McCarty Tobacco Sunburst 
• CONTACT: PRS Guitars

Build quality, usability and sounds

The DGT builds on the McCarty recipe that was noticeably different from the Custom on its launch in 1994. Always a 635mm (25-inch) 22-fret (not 24) guitar, its primary difference was a slightly thicker mahogany back, covered humbuckers (a first for PRS), and a toggle-switch pickup selector with master volume and tone (that later added a pull-switch coil-split for both pickups). Originally, the McCarty featured the then-new PRS Stoptail bridge, although a vibrato option followed.

David Grissom custom-ordered his first PRS in the style of what was to become the McCarty in around 1991, and his signature model was the result of playing his McCartys for some 15 years. It came with his own neck shape, “somewhere in between a Wide-Fat and an old Regular shape,” said David at the time. “We compared my ’93 McCarty and my ’87 Standard and shot for something in between those, as they were both my favourite ‘feeling’ guitars.”

Obviously, the DGT came with the PRS vibrato, while another difference remains the control setup: a volume for each pickup (the control closest is for the bridge) and a master tone with a pull-switch to engage coil-splits for both pickups simultaneously. Grissom’s model also introduced the partial coil-splits that have subsequently been used on many PRS guitars.

What else? Oh yes, bigger ‘jumbo’ frets based on the Dunlop 6100 gauge that Grissom preferred, and 0.011-gauge strings (with a plain third string, of course). Then, the stuff of legend, a signature DGT pickup-set originally voiced from listening to 40-plus prototypes – with the help of tech Ed Reynolds’ pickup-swapping test guitar.

That initial recipe is the basis of the current DGT, both solid and semi. Of course, plenty of tweaks have occurred since 2007, not least the full nitro-gloss finish – the original DGT introduced nitro to the PRS guitar but only the top coat over a thin acrylic basecoat.

Another change is that both 2026-spec models stick with the original-style Gen II vibrato (not the latest III version) that was briefly offered on the DGT, according to PRS specs, certainly from 2022. Also, instead of the previous bone nut, here we have the Core-standard brass-infused low-friction type.

As ever, the DGT doesn’t feature fingerboard binding like the current McCarty, or a headstock facing like most Core models. The DGT pickups and the control circuit have evolved, too (see Under The Hood, right).

As to the hollow bits of our subject here, it’s primarily the bass side that’s hollowed and behind the bridge, too; both the mahogany back and some of the underside of the maple top (around the f-hole area) are machined away. Like the solidbody, the thickness is 52mm in the centre of the body (the Custom is 49mm), just over 30mm at the rim, and you can expect a slightly lighter weight – ours was a nicely trim 3.12kg (6.86lb).

It’s rare to find a USA solidbody PRS that’s very much above 3.6kg (8lb), Singlecuts excepted; closer to 3.4kg (7.5lb) is a rough average in our experience.

The lighter weight here is very engaging from the off. PRS’s specs tell us that the DGT neck is slightly narrower at the nut than the Pattern profile, but the same as the Pattern Regular (42.06mm); ours is fractionally wider. It’s fractionally narrower than the others at the top fret, too (56.4mm), which is bang on what we measure.

Depth-wise, it feels pretty fulsome with the same 1st-fret depth as the Pattern and Pattern Regular (21.4mm), and by the 12th it’s the same as the Pattern (24.2mm); again, ours is fractionally deeper.

Comparing the neck with an older Pattern profile, well, they’re very close, although there does seem to be a little less shoulder in upper positions as it’s subtly more V’d.

But the most noticeable differences are the bigger and taller frets (measured at 2.74mm wide by 1.4mm high) and the bigger 0.011 gauge strings. There’s plenty of fight if you’re used to a lighter gauge, although David won’t hunt you down if you drop to PRS’s standard 10s.

Exactly what the semi-hollow construction brings to the table, sound-wise, is not easy to define. David believes it “has a bit warmer top-end, a little less bottom than the solidbody, and I can get more controlled feedback” – and he should know.

The guitar does have a very vibrant ring unplugged, though with quite defined highs, a lively ringing response and a little more volume than any of our solidbody references. It feels and sounds very alive.

Plugging into a clean amp, we were in coil-split mode and the voice we hear is rather like that unplugged character. Kick in a delay and it’s classic-era The Edge, but these splits are very good; musical with character and depth. Having been a little sidetracked, we headed back to humbucker mode and with some crunchy, rootsy light gain we’re right into that Grissom-style voicing and there’s plenty to enjoy.

Even without touching the controls, bridge to neck is really balanced with a nice bite to the former and a big plummy depth to the latter. It doesn’t sound over-hot, though, but there is a fullness to the voice that frankly makes our reference Patent Applied For-style solidbodies sound a little bright and thin.

Pulling back the volumes a little and the subtlety and versatility begins to come through, slightly smoothing the high-end but not losing any clarity, and sitting nicely for classic rockier rhythm duties.

In the mixed-pickup position, those controls seem almost interactive and take on a faster taper; a slight adjustment of either volume yields another nuance. It’s the way these controls work, not least with the coil-splits, that is the key to this guitar.

With little more than a couple of different, light drive pedals, the guitar just delivers, nodding to a good Les Paul but with seemingly more definition. In this sort of environment, the single-coil voices give a really valid texture: lighter with more present high-end that cleans for more strummy and arpeggiated rhythms, particularly with a slight volume reduction. Jangle? Oh yes.

In terms of the sounds we conjure and the playability, it’s really so responsive. Needless to say, this guitar is extremely stable and in tune, too, with or without the vibrato in play. It’s stellar craft but with a tremendous lived-in and vintage-y feel, and it’s very, very hard to put down. We don’t want to stop playing.

Verdict

Verdict: ★★★★★

We all know if you put in the hours you’ll become a better player. David Grissom has certainly done that, but those countless hours have really informed this guitar.

He’d already been a PRS player for more than 15 years before his signature model launched in 2007, and since that time he and PRS have continued to tweak and improve a guitar that – nearly 20 years ago – was already exceptional.

The DGT was always pitched as the workingman’s PRS, a more vintage-y, rootsy vision, and this semi-hollow version amplifies that reputation. It’s lighter in weight, ridiculously alive in our hands, does full-throttle with ease or, conversely, works effortlessly in cleaner environments where those coil-splits provide really usable single-coil textures to our ears.

Guitar World verdict: It certainly nods to the classics, the benchmark designs of our industry. And yet, especially in this semi-hollow guise, it manages to add another level that seems to enhance lower-volume cleaner styles or, by contrast, screaming musical feedback at stage volumes as you lean into your amp. No guitar does everything, but this comes dangerously close.

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• “There’s more ‘Fender’ to Fiore and more ‘Gibson’ to the SE DGT… Inspiring guitars from inspiring players”: PRS Fiore HH and SE DGT Standard review
• This article first appeared in Guitar World. Subscribe and save.

The deadline has passed for affected firms to respond to Fender’s cease-and-desist letters over the production of S-style guitars – and the rebuttal reveals telling information on how Fender could be beaten.

After scoring a default ruling in the Regional Court of Dusseldorf earlier this year, Fender began issuing cease-and-desist letters via Bird & Bird attorneys to firms that it claimed were infringing on its apparent 'copyright' for the Stratocaster body shape.

LsL Instruments were one of a number of US small builders to allegedly have been sent a cease and desist, with the letters demanding them to halt production, recall product, and destroy their inventory.

Those letters contained a 25 May deadline for the companies to issue a response. Guitar World has seen a redacted copy of a response letter, sent by the Tone Nerds YouTube channel, which highlights potential holes in Fender’s legal strategy.

Crucially, the response letter has been sent by Fox Rothschild, and signed by Ronald Bienstock – the same attorney who was behind the class action that famously defended Suhr and other builders, and defeated Fender’s previous attempt to trademark the Stratocaster back in the late 2000s.

Bienstock is uniquely positioned to defend this case, and his involvement is significant. It is not yet clear which firms Bienstock is representing in this response, and it has also yet to be clarified whether he is defending multiple firms that have been hit by cease-and-desist letters.

Regardless, the response letter highlights the ways Bienstock could beat Fender again. Below, we’ve broken down the six main points of argument against Fender’s cease and desists.

1. The Default Ruling has No Precedent

First, Bienstock discredits the default ruling from the Regional Court of Dusseldorf, claiming Fender is falsely misrepresenting it as a binding legal precedent when in reality it holds no weight outside the court, especially in the US.

Moreover, Bienstock notes Fender was only awarded the default ruling because the defendant, a Chinese musical instrument company, failed to turn up at court. Had Fender come up against greater opposition, Bienstock asserts the outcome would be different. It will not stand up to legal scrutiny if tested.

“We are concerned that Your Client [Fender] appears to have widely held out to the public, as well as to Our Client, that this 'judgment' is binding precedent upon any party other than the single absent defendant in that case, as we are unaware of any jurisdiction that would enforce any rights purportedly 'confirmed' by an undefended case,” Bienstock warns.

2. Fender’s Facts Aren’t Straight

Bienstock says the Dusseldorf ruling was predicated on the basis of gross misrepresentation from Fender, whose evidence in the case was “a fictitious rendering of the history of the Fender brand and the Stratocaster guitar”.

Fender’s history, Bienstock notes, had been “altered, bent, and made to fit a particular narrative” in order to achieve the desired ruling. Perhaps the biggest factual inaccuracy concerns the origin of the Stratocaster, which Fender told the German court had been designed exclusively by Leo Fender.

In reality, more people were involved in its creation. Fender’s own website acknowledges Rex Gallion and Freddy Tavares were both key in its development. Bill Carson, George Fullerton and Jimmy Bryant also had an influence.

Fender’s decision to leave out these names, Bienstock says, was deliberate in order to portray Leo Fender as the sole author of a creative work and meet the criteria for EU copyright standards.

Bienstock argues this factual misrepresentation renders Fender’s case in the Dusseldorf court, and by extension the questionable legal precedent it established, entirely baseless and without merit.

3. Not All Strats Are the Same

The Dusseldorf ruling established the Stratocaster not as a trademark but as a copyrighted work of art – which comes with its own criteria – but the defense points out that not all Stratocasters abide by the same manufacturing methods.

As such, Bienstock says there is difficulty in comprehending how specific shapes and contours can be of artistic value when there is so much inconsistency. The failure to maintain exact curves and contours of the first Strats sold in 1954 means Fender cannot police a single “Stratocaster body shape” simply because such a thing doesn’t exist.

Pair that with the subtle differences of third party S-style guitars, and the Stratocaster simply cannot be protected by copyright – especially one propped by a questionable default ruling – says Bienstock.

“Your Client cannot enforce a copyright in the Strat body shape when the dimensions and contours of the Strat body shape have been inconsistent over time. No one in the worldwide music instrument (“MI”) industry can rely on a moving target as a benchmark,” the letter states.

To demonstrate his point, Bienstock also draws attention to a glaring error present in the Bird & Bird cease-and-desist, which wrongly identifies the Dusseldorf defendant's counterfeit Stratocaster as a genuine Fender Strat, using the wrong image to argue its point.

“What is clear to the reader of Your Letter is that counsel itself cannot tell the difference between the 'Chinese copy' guitar from the regional court case and Your Client's guitars,” Bienstock says “The photos provided for reference in Your Letter as the "Fender 'Stratocaster' body" are actually the defendant's guitar from the regional court case.”

4. Past Legal Failures

The defense also draws attention to Fender’s previous failures in obtaining intellectual property rights for the Stratocaster body shape – something that Fender allegedly failed to disclose to the German court, which in turn may have influenced the outcome.

Tellingly, that previous ruling in the US declared the Stratocaster body shape “generic in the largest guitar market in the world”. In other words, Fender has tried – and failed – to establish a legal protection for the Strat under the United States Patent and Trademark Office, Trademark Trials and Appeals Board (TTAB).

As Bienstock puts it, the Dusseldorf ruling does not hold weight to overturn this, and any appropriate court would agree with the outcome of that case.

“The fact remains that Fender has attempted to claim exclusive rights to the Strat body shape and failed in one, arguably more appropriate, forum, and made no representation to the court of the adverse TTAB decision,” he notes.

5. Fender’s Ownership of Copies

Fender also has a long history of taking ownership and willingness to acknowledge the proliferation of Stratocaster copies over the years, especially in its marketing campaigns, which Bienstock says negates its ability to enforce legal protection of the body shape after all these years.

In exhibits cited in the letter, Fender ads carry slogans such as, “Why Buy A Copy When You Can Afford The Original?” and “The Most Imitated Guitar in the World.” Fender has also advised players to buy “copies” and then “buy the real thing”.

According to Bienstock, “These are not merely admissions; these ads show that Your Client [Fender] knew of the third-party manufacturers and thoroughly waived all their rights as to any claims against them for such 'copies.'”

In other words, decades of embracing copies as a ploy to market its own guitars cannot be undone by Fender, not least off the back of a questionable ruling that doesn't hold up to a superior US ruling from 2009.

6. Too little, too late

The core of the argument echoes arguments made in that 2009 lawsuit: that Fender has gone too long without policing its IP rights, rendering the Stratocaster body shape unprotectable. Unimpeded third-party production of S-style guitars has been happening for 70 years. It is too late for Fender to overturn this.

“Third parties have built business upon them, employed thousands of people to make them, spent millions of dollars to advertise and sell them,” says Bienstock.

“As a simple matter of equity and public policy, FMIC, more than seventy years ex post facto of the introduction of the Strat shape cannot be given the authority to monopolize the Strat shape to the exclusion of these many manufacturers and distributors… by a claim of a default.”

“Enforcing copyright protection for the Strat body shape by reliance of default is a vaporous measure,” Bienstock condemns.

”Granting copyright protection retroactively to a mass-produced generic guitar body shape after 71 years would render superfluous the trademark law that states that such guitar bodies must act as a source indicator for the manufacturer.”

Over Before It Begins?

Bienstock closes his response demanding a complete retraction of Fender’s cease and desist claims, asserting its unnamed client retains full right to continue selling S-style guitars.

Whether the response will deter Fender remains to be seen, but if Fender does not back down, Bienstock has clearly laid out the firm’s intentions to fully defend this right.

“Efforts by Your Client to bully competitors based on misrepresentations and overstatements are anti-competitive. If Your Client continues to pursue these matters, Our Client will, of course, seek all available remedies, including all attorneys’ fees and costs,” he concludes.

The ball is back in Fender's court, and the guitar world now waits to see what its next move will be – and if it plans to follow through and take its rivals to court. We'll bring you the latest updates as the story develops.

What is it?

Some say that we, as guitarists, spend too much time looking backwards, but to me, it makes sense that we spend a lot of our time investigating tones from decades gone by. Not that there isn’t a place for modern innovations, of course, but a lot of what makes the electric guitar what it is originated throughout the ‘50s, ‘60s, and ‘70s. These tones are the basis of a lot of modern guitar sounds, so it makes sense that the gear from that era is still relevant.

And that is where the Fender Vintera series comes in. It is Fender's line of vintage speced, Mexican-made guitars that allows us access to the feel and sounds of a vintage instrument, without the price tag of something like the American Vintage II range, a Custom Shop guitar, or indeed a real vintage example.

With the Vintera series now in its third iteration, there's a notable focus from Fender; the current models are more specifically tied to certain years with period-correct details. I have the mid-'60s Telecaster in front of me for review, boasting, as you might expect, a spec reflective of that era with particular attention to the minutiae of the aesthetic.

Highlights that differ from its predecessor (the Vintera II ‘60s Telecaster) and show the specificity on offer here are a real bone nut, threaded steel saddles, a round laminated rosewood fingerboard, a decal over the finish, an ‘F’ logo on the neckplate, aged white pearloid dots, and a mid-’60s neck shape.

So, is this the sweet spot for vintage Fender fans away from the higher US model prices?

Specs

• Made: Mexico
• Type: Six-string electric guitar
• Body: Alder
• Neck: Maple, mid ‘60s C shape
• Fingerboard: Round laminated rosewood
• Scale length: 25.5”/647.7mm
• Nut/width: 1.650"/42mm
• Frets: 21, vintage tall
• Hardware: 3-Saddle Vintage Style Tele with Threaded Steel Saddles, Fender vintage style tuners
• String spacing at bridge: 0.354”/9mm
• Electrics: SS, three-position switch, Fender Mid ‘60s Tele pickups
• Weight: 8.3lb/3.8kg
• Finishes: Vintage Blond, 3-Color Sunburst, Firemist Gold (as reviewed)
• Options: Vintage Blonde with ash body and round laminated rosewood fretboard, 3-Color Sunburst with alder body and round laminated maple fretboard
• Left-handed options: No
• Cases: Fender soft case
• Contact: Fender

Build quality

Build quality rating: ★★★★☆

Despite being cheaper than its American-made cousins, the Vintera III Mid ‘60s Telecaster still retails at $1,249, so we should absolutely demand a high-quality build. And for the most part, that’s what we get.

It’s the tried and tested combination of an alder body, maple neck, the aforementioned rosewood fretboard in the vintage correct round laminate iteration, and the vintage-style tuners that you would expect on an instrument of this ilk.

The tuners feel smooth to use, as do the knobs, although the volume knob (to be clear, I mean the metal knob, not the potentiometer) is sitting a little loose out of the box. Nothing that tightening the grub screw can't fix though.

Fender offers a choice of three colors - Firemist Gold, Vintage Blonde, and 3-Color Sunburst. It’s the first of these I have here, and, being totally subjective, it is easily my favorite with its eye-catching gold shine.

The 21 vintage tall frets are finished well, with no obvious issues. Solid tuning is always a sign of a well-built guitar, and the Vintera III Mid ‘60s Telecaster performs well here, but my tuner got a little use as the guitar needed some attention while shooting a video in a warm room and at a slightly chilly outdoor gig. To be fair to Fender, a lot of guitars would wander a little in those circumstances.

Interestingly, we have vintage threaded steel saddles instead of the slotted steel found on the Vintera II. Being vintage-correct, these are not compensated, but the intonation is good enough that I don’t find myself wanting for that. Let’s face it, the nature of fretted instruments is that they are, in most cases, impossible to intonate perfectly anyway.

There are a couple of things that I would like to see improved – or at the very least hope other players don't encounter like I have. On this specific model, the lacquer on the side of the neck up by the higher frets is a little untidy, and the string tree sits atop a white plastic post, which slightly takes away from the premium aesthetic.

A quick note on truss rod adjustment - usually the neck needs to be removed to allow access to the adjuster, as is technically correct on a ‘60s spec'd Telecaster. This is a time-consuming process, but some third-party brands - including StewMac and Hosco - produce different tools that allow a truss rod adjuster to be tweaked by only removing the scratchplate. It would be great for Fender to produce something similar and include it with vintage spec guitars like this.

Playability

Playability rating: ★★★★★

When it comes to playability, it’s hard to find something to complain about. It’s a vintage feel with a 7.25” fretboard radius, which won't suit the shredders among us, but it’s a myth to suggest that this means a high action. All that is needed is a good setup, and this guitar proves it.

I measure the string heights at 1.5mm and 1.25mm on the low and high E, respectively, placing the action firmly in medium-low territory, with no fret buzz or string choking issues. For me, this is low enough for some flashy stuff, but high enough to allow some digging in.

This curved feel is generally accepted as being great for open chords, and this is reinforced by the ‘mid-’60s C-shaped neck, which feels relatively skinny at the first fret and gets gradually thicker towards the 12th.

Although noticeably thicker than the modern C carve found on a lot of current Fenders, this sort of neck shape shares more with those than it does with the baseball bats of some ‘50s models. While this is entirely down to personal preference, I suspect many will find this to be the sweet spot between too thick and too thin.

The vintage tall frets make bending a breeze, and the guitar comes equipped with a gauge 9 set of strings, meaning there is plenty of scope for those David Gilmour impressions.

Again, you are not about to be doing three-note-per-string legato acrobatics here, but for the sort of playing this guitar is aimed at, and acknowledging some personal preference here, I'd say the guitar arrived perfectly set up out of the box.

Sounds

Sounds rating: ★★★½

Plugging in, and it's here where I feel the guitar could do with a bit of an upgrade. Installed are Fender's Vintage Style Mid ’60s pickups, which are the same as featured on the Vintera II ‘60s Telecaster.

Starting with the positive, the high end is in a nice place to be. A Telecaster has been my main gigging instrument for a good number of years now, so I am quite used to the cutting treble that's a cornerstone of the Tele sound. Here, it is not quite as biting at my own '50s spec Custom Shop Fender pickups, but still quintessentially Tele, in a way that I can see a lot of players preferring.

Testing through a Vox AC30 paired with a Browne Amplification Ethane overdrive pedal, and a Dumble-esque sound on a Line 6 Helix Floor, this gives the neck pickup a nice chime on clean sounds, but keeps it clear at gainier settings.

On the bridge, it's the sort of high-end cut that will get you heard, although, as you would expect, it can be so cutting without careful tone control dialling, some will feel it best staying away from squeaky clean tones there.

It’s the low end where I feel the pickups suffer. Gigging the Vintera III with both the aforementioned setups across two live gigs, riffs on the low E and A strings got lost in the mix because of the lack of low-end punch.

This is most problematic on the neck pickup in a clean context, although I find myself wanting for a little more beef in gainy, bridge pickup sounds too. If I am blunt about it, I would prefer to have seen Fender tweak the pickups for this new version, rather than the period correct changes elsewhere.

It’s worth remembering, however, that the neck pickup remains mud-free, even with a decent helping of gain, and this lack of low end will be part of what contributes to that. So, while I don't think it is worth the compromise, there is an upside.

It’s also worth considering that the pickups can be upgraded, with something like Fender’s Pure Vintage ‘64 Telecaster pickup set. This would still bring in the guitar below the cost of its cheapest American-made brethren, and well below the vintage-spec'd American Vintage II range.

Verdict

At around $1,249, the Fender Vintera III Mid ‘60s Telecaster is not a budget guitar, but it is reasonably priced for a high-quality instrument. For reference, your closest option for a vintage spec Telecaster from Fender’s current US-made range is the American Vintage II, coming in at $2,449 at the time of writing.

The question is then, what do you lose for this significant cash saving? The answer, as this guitar proves, is not too much.

The main compromises are in a few aesthetic aspects of the build and the lack of beef in the pickups. Outside of that, it is a solid guitar that plays incredibly well, and having gigged it, would suit many a hard-working guitarist looking for that vintage thing. Upgrade those pickups, and what is already a very good guitar will become a stellar one.

Guitar World verdict: Boasting a vintage spec with an aesthetic specificity that will suit the purists at a reasonable price tag, this could be the perfect guitar for those hard-working, gigging guitarists after that vintage thing. You might want to upgrade the pickups, though.

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Rory Gallagher had a lifelong affection for single-pickup student guitars that he often modded with more powerful pickups then played on the major stages of the world. Arguably, this guitar – serial number 60937 – is the most famous guitar of that style in Rory’s collection. Ironically, however, it was found by chance by his brother Donal Gallagher while Rory browsed a nearby guitar store.

“This guitar was found on one of the many trips to LA we made over the years. We were there for just a few hours in the afternoon, and Rory said he wanted to visit a guitar store, I think it was called Valley Sound, and he knew the guy there. So I said, ‘Okay, Rory, let’s go down. But it’s a nightmare parking because there’s only a couple of meters.’

“So I dropped him at the place, and he said, ‘Oh, I think they have something I might want, I won’t be very long,’ and, of course, he walks in the door and I said, ‘Okay, I’ll stay with the car.’

“Going into guitar stores in places like LA, where they knew who Rory was, was always funny because you’d get other guys trying a guitar out and, of course, they’d see him and immediately start a Rory guitar riff at full volume, to show that they knew who he was.

“A lot of the time, my head wouldn’t be in the right space for that, but Rory took it gallantly. Anyway, he was in there and I was outside with the car. You’re not supposed to do it, but I kept feeding quarters into the parking meter, hoping the attendant wouldn’t spot me doing it, but I was getting so bored.”

“But then I realised we were parked outside a pawn shop, and I kind of looked and I thought, ‘Oh, I wonder if they have any spare guitar cases.’ We had this ongoing thing where Rory was picking up loads of guitars, but none of them had decent cases – or sometimes the original cases had been lost or they weren’t up to touring.

“And I thought, ‘Well, I’ll kill five minutes.’ So I went into the store and I said, ‘Would you have any guitar cases?’ and the guy said, ‘Oh, do you not want to buy a guitar?’ and I said, ‘No, no, I haven’t got the money for that.’ I was like, you know, pleading poverty.

“I’d seen one case that looked good, but he said, ‘Oh, well, you’d have to buy this guitar to get the case.’ So I looked at it and it was a Gretsch Corvette. So I said, ‘How much do you want for that, then?’ and he said, ‘Oh, it’s $500.’ But I was seriously focusing on the very good case that it had. So in the end, I got him down to $150.

“I took it out and put it in the boot of the car, fed the meter some more and waited for Rory. Rory eventually came over, all disappointed that he hadn’t found anything, and I said, ‘Well, Rory, look, you’ll probably kill me for this, but I spotted they had a guitar… Actually, the case is probably much better than the guitar is.’

“So he said, ‘What is it?’ and I said, ‘It’s a Gretsch,’ and he said, ‘A Gretsch?’ and I opened the trunk of the car, he looked at it and he just closed it down again and said, ‘Let’s get out of here before they realise what they’ve sold you.’ [laughs]”

JHS Pedals founder Josh Scott has a new signature guitar with Bilt, and it’s an instrument that will be very familiar to many.

Scott regularly plays a white offset Relevator when demoing pedals on YouTube, and now it’s getting a signature release.

As Scott explains during his off-camera cameo on 60 Cycle Hum’s video exploring the weird guitars that call the JHS headquarters their home, the Relevator is (was) a one-of-one guitar custom-built for Scott designed to be “the ultimate pedal demo guitar.”

Fittingly, it looks like something concocted in a mad scientist’s laboratory, with the offset body and Starcaster-style headstock a charming match, and a swarm of pickups and switches that make the guitar so well-suited for putting pedals through their paces.

Scott’s signature model, then, is a careful recreation of that guitar, with all its kooky quirks in tow.

At its core is an alder body, given a JHS-coded Arctic White gloss finish and a white-and-chrome pickguard, alongside a hard maple neck capped with a 22-fret rosewood fingerboard.

Built to a 25.5” scale length and featuring a 12” fretboard radius, it also features an Adjust-O-Matic roller bridge, Mastery vibrato and metal button tuners.

Things get extra bonkers when we go over to the electronics, with two Firebird minibuckers, a Jaguar pickup, and a Lipstick pickup making for the ultimate tonal squad goals.

Pair that tasty quartet with a three-way selector, a kill switch, a neck/middle pickup toggle via white sliders, and neck/middle and bridge/middle selectors via the red sliders, and no one should be left wanting.

Made in South Korea and priced at $1,600 apiece, the Bilt x JHS Pedals Relevator could be a revelation for tonally demanding players, and leave pedalboards the world over quaking in their rubber-bottomed boots.

The first pre-order drop was 100 strong and sold out in just 15 minutes. The good news is that Scott says this isn’t a limited run. The initial batch was made available to test the waters. Well, consider the waters thoroughly tested, and expect plenty more to arrive soon.

Scott has also stated that his share of sales will go toward his non-profit art center, which he launched with his wife. It includes a program providing kids with free music education.

Keep your eyes on Bilt for more details.

In less positive news, Scott has warned that ChatGPT is erasing pedal history after an experiment yielded some scary results.

After a certain amount of time with the electric guitar you think you have pretty much got the instrument all figured out, and then like Donner goes and expands its futuristic Hush series with a headless guitar that has its own onboard amp, effects, and speaker.

Not only that but the speaker is detachable. And this is the year 2026, so of course this guitar – the Hush-X Live and its more upscale sibling, the Hush-X Live Pro – has onboard Bluetooth.

You can keep your jetpacks and hoverboards; this is the future.

Debuted at OSAKA Guitar Show, these really are the ultimate take-anywhere travel guitars, lightweight, compact, fashionable, headless.

The Hush-X Live Pro even comes with some celebrity pro-player kudos with Japanese string-slapping virtuoso MIYAVI involved with shaping key elements, such as the neck profile, the headstock (well, what’s left of the headstock), the pickups, and co-designing some of the amp models you can play on it.

And as Guitar World has learned at first hand, the Hush-X is a serious guitar, travel or otherwise.

Traditionalists, if you’re still reading, bless you, but this is one you can definitely sit out. The Hush-X Live and Live Pro are so 2026 they would make the Jackson Soloist look like the Rickenbacker Frying Pan. You might have to wait until... well, the year 2126 for these to be considered “vintage”.

The detachable speaker module is really an out-there idea, even for Donner, even for its Hush series. You charge it via USB-C and get up to nine hours of continuous play.

You can blast out Enter Sandman as you walk down the aisle at Target, work through some Joe Pass-style chord changes as you wait to be seated at your local pizzeria, or, y’know, play some bluegrass neo-folk as you browse the range of organic alt-milks at Whole Foods. You do you, anywhere, anytime, for up to nine hours at a time.

Okay, so the two guitars are not that different. They both have neck-through builds, a 25.5” scale, Alnico V humbuckers, with the Pro model’s pickups wound to MIYAVI’s specs. They have bone nuts with a quite narrow 38mm width. The standard model has a mahogany body, a five-piece mahogany neck strengthened with 1mm maple strips and fashioned into a mainstream modern C profile.

The Pro version has the MIYAVI neck with an HPL fingerboard and a 13.7” radius, while the standard offers the choice of HPL or roasted maple and has a flatter 15.7” radius. You’ll also find the neck is roasted maple with maple strips, and the body is aged Canadian maple.

And so that leaves us with the amp, speaker, combo… Wait, is this really a modeling combo amp with an onboard guitar, or a guitar with an onboard combo? You decide.

Either way, you’ve got five-watts, five onboard amp and cab sims on the standard, seven on the Pro. There’s even tap tempo on these, and a noise gate. A noise gate?! Incredible.

The Hush-X Live is available now at $439, with a 10 per cent discount voucher available online. The Hush-X Live Pro is out July 15, and is priced $566. Both come with gig bags.

Head over to Donner for more.

There are many ways to get into the Rock and Roll Hall of Fame. For Raven Slaughter, a fixture of the Cleveland music scene going back to the 1970s, that means having his S-shaped guitar on full display at the prestigious Rock Hall.

Now in hospice care, Slaughter still makes the effort to visit his old friend, a Gibson Les Paul Junior, which he sawed up and transformed into a custom S-shaped guitar for what he deems a really good reason.

“I made an S out of it because it sucked, and they thought it meant Slaughter. Really, it just sucked,” Raven tells Fox 8 News Cleveland. “It just kept going out of tune.”

Slaughter made a name for himself across Northeast Ohio and the Midwest throughout the ’70s and ’80s, playing iconic venues such as the Agora, the Beachland Ballroom, and the Fantasy. While he’s not a nationwide household name, he served as a mentor to many artists navigating the Cleveland scene and built a decades-long career in music.

All these years later, the guitarist admits “it’s weird” to see his loyal companion displayed at the Rock Hall, “because I’d like to play it, but it’s in there for everybody to see, but that’s OK.”

Mostly, though, he’s just glad that music fans now have the opportunity to see a very unusual guitar and learn more about the scene that helped him flourish.

Having his instrument displayed at such a prestigious location is validating for Slaughter. It showed how music allowed him to “just [be] me. I could be myself, and everybody dug just me being me.”

And, speaking of the Rock & Roll Hall of Fame, the 2026 Rock Hall inductees were announced just a couple of weeks ago, and there’s a long overdue nod to some British heavyweights.

I don’t know what it is, but I think offset guitars are just cool. Over the years, I’ve owned many crooked electrics from a couple of Jazzmasters, a Jaguar, and a flock of Firebirds, but I’ve never owned a Guild, and that may well be about to change. I’ve just spotted 27% off the stunning Guild Surfliner Deluxe in Scarlett Red Metallic in Amazon’s Memorial Day sale. It’s not often you see a deal this good on a guitar that looks and plays like a million bucks - so I’m more than a little tempted to pick one up.

Guild’s Surfliner Deluxe builds off the original Surfliner, which hit the scene in 2022 and quickly became a favorite for its retro offset vibe. The Deluxe version takes everything to the next level. As our glowing review noted, “Fair play to the Guild team for taking the perfectly credible design of that original Surfliner and kicking it up a notch or two in style, vibe, and sound. This Surfliner feels much more like a good offset with quite mean intent, and frankly, something Guild actually could have come up with back in the day.”

Along with that Jazzmaster-esque vibrato, we get modern-style rear-locking tuners and a HSS pickup configuration, with a seriously beefy HB-2 humbucker at the bridge, replacing the mini-humbucker from the original. Switching is handled by a classic five-way lever, ditching the quirky toggles.

Guild didn’t just tweak the electronics; they gave the Deluxe some real upgrades, too. There’s a bound, block-inlaid rosewood fingerboard and a two-piece roasted maple neck, which feels like a big step up from the original’s plainer maple. The oversized headstock is color-matched to the body and features a raised silver Guild logo for extra flair.

We described this guitar as feeling somewhere between a “Stratocaster and Guild Jetstar.” The C neck profile is very mainstream, with enough shoulder to feel substantial, and the frets are quite wide and low, making speedy runs easy and comfortable.

In terms of sound, the Deluxe is as versatile as it gets. There’s good contrast with the relatively low-output bridge humbucker and the sparkle and bite of those single coils.

At 27% off, the Guild Surfliner Deluxe is stellar value for anyone wanting a fresh offset guitar loaded with style and versatility. As we concluded in the review, “Overall, there’s a bit more of a grunge and garage-y attitude here, rather than ‘pretty’ 60s surf. Things can get quite nasty – in a very good way indeed.”

Memorial Day weekend is set to land on Monday, 25th May, but as you'd expect, there are already epic sales live ahead of the big day, which you'll be able to shop right through Monday and probably a few days beyond. Head over to our best Memorial Day guitar deals page to see all the offers we've found so far.

Shop more Memorial Day sales

• Fender: Up to $600 in savings
• Guitar Center: Save up to 30% for Memorial Day
• Guitar Tricks: Get 1 month of lessons for just $1
• IK Multimedia: Memorial Day ToneX deals
• Musician's Friend: Up to 60% off Gibson, Fender & more
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Fender’s cease and desist campaign against smaller builders to stop the production of S-style guitars and protect what the company sees as the intellectual property of the Stratocaster body design raises many questions.

We do not know how long this legal campaign will take. We do not know what the guitar industry will look once it has finished, if we will be able to buy a Strat-style guitar in years to come.

There are many unknowns. There has been a lot of heated commentary. It is what some are calling a PR disaster for the ages, with prominent YouTubers cutting ties with Fender. But has the Fender game plan been hiding in plain sight all of this time?

The Regional Court of Dusseldorf was, on the face of it, an unusual choice of venue for Fender’s lawsuit against Yiwu Philharmonic Musical Instruments Co., the Chinese company which had been making straight-up Strat copies and selling them on the online retail platform AliExpress.

When Fender announced their “historic” legal victory on March 10, in which the German ruled the Stratocaster a “work of applied art” and offered substantial legal protections over its copyright, Yiwu Philharmonic did not attend the hearing.

The ruling was delivered in absentia. And yet it established a legal precedent that could be enforced across the European Union, and it is hard to see how this ruling and Fender’s campaign of cease and desist letters to builders in the US, is not a downstream consequence of the German court ruling.

Mike P. of the El Dorado Guitars YouTube channel certainly believes so, and he argues that this was Fender’s intention all along. The real target was not Yiwu Philharmonic; it was the ruling itself, something that he says could be taken back to a US court where Fender could try once more to establish similar copyright legal protections over the Strat body shape in the US.

Famously, Fender lost its previous legal case in the US in 2009 when it tried to trademark the Stratocaster. Mike P. believes that, with this ruling in its back pocket, Fender has some fresh legal ammunition to present before a court in the US. This time its luck might be different.

“Fender knew that these guys were never gonna show up and that they were gonna get a default judgement,” he claims. “Fender got what they wanted, a really serious default judgement in Europe. So Fender sends out these cease and desists to everyone, including these people in the United States.

“Now, you’re like, ‘Mike, it’s not enforceable in the United States, because there’s that ruling that the Strat is in the public domain as an electric guitar.’ Exactly. And that’s what Fender wants to go after. That’s what this is actually all about.

“This is about fender wanting to start some shit about the Strat body again in the United States. And they couldn’t do it before, but with this strategy, maybe they can.”

The theory posited by Mike P. is that Fender’s cease and desist campaign is the company “fishing for a case” and when one of these US-based builders launches one to defend itself then there is an opportunity to revisit the issues of copyright and trademark with regards to a guitar’s body shape.

“If John Suhr and Tom Anderson – let’s say all these people – get a class action and sue Fender for this, that’s exactly what Fender wants,” he says. “Fender wants a showdown. Fender wants another day in court, here in the United States, to try and get the Strat body copyrighted again.”

Would Fender be successful? That’s another question that no one can answer right now. But Fender would not be sending out cease and desist letters if it did not think it had a chance.

As Mike P. notes, Fender, has a lot of capital behind it. And there are a lot of companies making S-styles, a lot of targets, and reportedly a lot of letters sent.

YouTubers Phillip McKnight and Tone Nerd first broke the story that LsL Instruments was the first US-based builder to be served a cease-and-desist over the production of S-styles. The family-based company has since launched a GoFundMe to support its legal fees.

Guitar World readers' reactions have been mixed. Some have called Fender's campaign “comic book level villainy” while others argue that Fender has a case, suggesting that those who want to continue making S-styles should do so under license.

Fender’s Custom Shop is the home of the company’s dream machines, which are built to the highest quality the California-based company can offer.

But there are tiers within tiers even at this level, and the Custom Shop’s Masterbuilt instruments offer the closest any large guitar maker can get to the hand-craft of master luthiers, with a small cadre of highly experienced Fender guitar makers personally crafting dream guitars from headstock to end-pin.

Recently, we were lucky enough to sit down for a chat with two of Fender’s most in-demand Master Builders, Austin MacNutt and Andy Hicks.

Who better to ask about the sonic soul of Leo Fender’s classic designs and the best ways to mod and maintain them for maximum performance – and also give their views on the way ahead for aged guitars, trends in custom guitar making at Fender and more…

It’s the 75th anniversary of the Telecaster – so tell us, what’s your best setup tip for the classic Tele?

Austin MacNutt: If you’re dealing with a vintage three-barrel saddle kind of thing, that’s the first big thing that comes to mind. If you don’t have compensated saddles, you’re just kind of splitting the difference [in terms of intonation] – that’s all you can do.

So one’s going to be a hair sharp, one’s gonna be a hair flat on each of those saddles. But if that’s not what you want to do, you can get the compensated saddles and then you’re off to the races.

On Fender’s recent American Ultra Luxe Vintage ’50s Tele, we notice they used six individual block-style saddles but made them of brass, presumably to keep that classic Tele twang while offering more accurate intonation – do you think that style of bridge can offer the best of both worlds?

Austin: I haven’t been hands-on with that particular [type of bridge and saddle] myself yet, but from what I can see it’s a great setup – because you still get the brass and you know it’s still got that vintage DNA but just brought into the modern world a little bit.

How about Fender electrics with a vibrato – especially the Strat? How do you avoid niggling issues with the guitar not returning to tuning when you use the vibrato a lot?

Andy Hicks: All the setups are going to start, for me, with making sure that your fret dressing is done properly. Because if you’re having to fight that, then you’re going to run into issues through a lot of your setup.

There are different kinds of nut files – there are ones that have a flat, squared-off bottom, and then there are ones that have a curved bottom that more [closely] replicate the shape of a string. And that’s what I like. It allows them to smoothly roll through the nut and return to the position that they want to be in.

Also, when I cut the slot, I don’t oversize it, but I do roll the file a little bit as I’m doing it – to remove any burrs, anything that could catch one of the winds on one of the strings. I’ll also be making sure that all the strings are stretched properly and that there are no burrs on the saddles at the bridge as well.

So many issues can be solved by just taking some small file and, without much pressure, dragging it across the surfaces where the strings are going to be – because you’re catching these little metal fragments that bind the strings. What is causing the tuning issue is the string is being stretched or loosened, but then it’s not returning to its original tension.

How do you tend to tailor the break angle over the nut to optimise tuning stability?

Andy: I’m pretty careful about cutting my nut slots so that the angle is going to be the natural angle of the string from the break point to where it’s meeting on the tuning key. If you’re slotting too steep of an angle, then you’re going to have a sharp point that the string is resting on again, and that’s going to be a binding point.

If it’s not steep enough, then you’re going to have this area where it can slide and not really have a meeting point. So it takes a little bit of practice, but once you can really nail that angle, that also is doing a lot of the heavy lifting for making sure that you’re not having tuning issues.

Austin: It doesn’t matter if it’s staggered tuners or traditional tuners with a string tree; that angle needs to just match the natural path of the string.

It’s surprising what quite subtle tweaks can do to optimise the overall performance of the guitar.

Austin: Yeah. I do some setup work for session players out in LA and they’re always surprised that they’ll bring an instrument over and I’ll immediately know what the issue is. It’s just a case of one swipe of a file, and they’re like, ‘That’s it?’ And I’m like ‘Yeah.’

And they say, ‘I could have done that.’ But [you couldn’t really fix it that quickly] unless you do this stuff enough to the point that it becomes second nature to you – and you can just hear or feel the problem and know pretty immediately what’s going on.

How about classic offset guitars like the Jazzmaster – anything you take extra care over in terms of setup for those?

Austin: I think the first thing I would try to tell somebody who has a vintage Jazzmaster bridge and the tremolo that goes with that is, just understand what it is and what the pros of that are – and also that it wasn’t a perfect design. It’s still being fiddled with today.

So, you know, there’s not really an answer for everybody’s playing style. But one of the things that I’ve found – and we do this [as a matter of course] in the Custom Shop – is that when you take the bridge out, you want to make sure that all the components fit properly.

It’s all metal pieces that are acting on a pivot, and they can create these little burrs and bends. For example, sometimes, I’m taking the bridge off and filing the bottom of the screw for the height adjustment. And just doing that a little bit can help with the tuning stability on the Jazzmaster.

And I know this is not really what you’re asking, but if you’re talking about Custom Shop instruments – specifically Masterbuilt ones – the person who’s assembling the bridge is also the person who’s going to be setting the guitar up later and doing things to the components before they even assemble the bridge. When I’m undertaking that kind of work, I know what could potentially be an issue later. So it’s just an experience thing.

How do you think what the Custom Shop offers to players has evolved over the past 20 years?

Andy: Obviously, it originated as just strictly recreating examples of true vintage instruments, which we are still doing today. But then there are also [models we make] that are a little bit extra or that have weird colour combinations, stuff that is not vintage-correct…

Austin: Things that live in the world of fantasy a little bit.

Andy: Yeah, so it’s expanded to that and that opens up a lot of opportunities for really cool-looking instruments – you can really have a lot of fun getting some extravagant relicing or weird colours going. So it started from trying to recreate vintage stuff, which we still do, but now it’s become its own thing, too.

I think also there’s always this thought of like, ‘Will the relic fad go away?’ And I don’t think it will. When you’re ordering that kind of instrument, it is – by its nature and how we do the work on it – a one-of-one instrument. So if you’re getting a NOS [New Old Stock finish – namely, pristine and unaged] Candy Apple Red Strat, then you’re going to see other Strats out in the wild that look like your Strat.

But if you’re having any level of relicing done on it, you can always pick yours out from the crowd. And I think for customers, especially if they’re spending that kind of money on an instrument, it’s like, ‘My guitar is now one-of-one, just because it has this unique [artificial ageing] fingerprint on it that doesn’t exist on any other guitar.’

It’s like relicing has become a kind of aesthetic all of its own that goes beyond simply trying to make guitars look authentically old.

Andy: Yeah, I mean, there are still people who want an instrument that looks like it’s straight out of the early ’50s, and then there are other people who see [relicing] just as another aesthetic part of the guitar. In just the same way as people have got their favourite colours, they also tend to have their favourite relicing level.

And it’s not about, ‘Does it look like it actually happened to the instrument?’ Something that you’ll hear a lot of is that relicing is like ‘stolen valour’ – like, ‘Oh, you didn’t earn that relicing.’ But I think people who like it are not thinking of it like that.

They’re not thinking, ‘I want this instrument to look like I’ve played it for 60 years.’ They just think it’s cool. And I don’t gatekeep that kind of [choice] because it’s your instrument – and whatever makes you feel like you want to pick it up and play it, that’s what you should do.”

Austin: I always tell people there’s nothing stopping you from ordering a NOS [non-relic] guitar. I’m more than happy to not beat it up [laughs] – so you can have both.

As time goes by and children of the 1990s enter the market for high-end Fenders, do you notice an increase in shred-inspired orders in the Custom Shop?

Andy: I would say that’s a pretty accurate assessment. I’ve done some more Floyd Rose stuff recently than I have in the past, for sure – there’s definitely more of that.

Austin: We’re entering the era where the guys who grew up listening to Eddie Van Halen, they’re the customer base now who are buying Custom Shop, and they’re not looking for their dad’s guitar. They’re looking for their guitar hero’s guitar. So I know that a big part of my clientele is our customers who want those ‘Super Strats’ and I probably do more Floyd Rose HSS than anybody else in the shop.

It’s not surprising to me at all because guys who are my age and slightly older, I know that those are the instruments they grew up listening to: their dads grew up listening to stock ‘Blackguards’ and vintage Strats, and their heroes are screaming on high-performance instruments.

What other interesting new avenues do you think Custom Shop guitars can go down?

Austin: Well, there’s no shortage of interesting requests and it’s fun to fulfil someone’s dream guitar. They might be the only one that has that idea or that specific group of specs on the guitar – so it’s always something new.

Andy: But there’s a balance you have to do with Fender because, at some point, if you take too much away from what makes it a Fender, it’s losing some of that soul. And Leo created these incredible instruments – and when I talk about Leo Fender and his early instruments, I compare him to somebody who invented the game of baseball, and then his very first turn at bat, hit a home run. He did it so well that even now, 70 years later, everybody still wants to have their version of the Strat and the Tele.

And so [you ask yourself], ‘Am I at some point going to take away so many parts of the soul of the instrument that now it’s no longer a Strat?’ And if I’ve done that, I’m probably not doing my job correctly. There are other brands under the Fender umbrella that maybe have the freedom to do that, but I try to always strike a balance with it.

It seems like more and more guitar makers are now offering some form of aged finish for their instruments – obviously inspired by the Relic trend that Fender started. Does that increasing competition influence what you do to any degree?

Andy: For me, I’m just so proud of the quality of work that all of the Master Builders are putting out, and the rest of Custom Shop, that I don’t spend a lot of time worrying about who else is chasing that look. If somebody else wants to try to do it and it benefits them, then great.

But I’m not too worried about what somebody else is doing. I’m focused on my own builds and making sure that there’s a certain standard of quality that goes out. Everybody’s free to try it. It’s not as easy as they think. A lot of people say, ‘I can drag a guitar behind my car and then sell it for that price,’ and it’s like, ‘Okay, go do it then! [Laughs]’

• For more info on Andy and Austin’s incredible work, head over to the Fender Custom Shop
• This article first appeared in Guitarist. Subscribe and save.

What is it?

The Jackson Pro Plus Series Signature Christian Andreu Rhoads RR24 EVTN6 is the signature guitar of one of modern metal's most underrated players. Andreu is often found in the shadow of the brothers Duplantier, thanks to Joe’s outspoken nature and commanding stage presence, and Mario’s incredible displays of virtuosity on the drums, but he’s no less important to the precision machine that is Gojira.

It’s no surprise then that as part of the rhythmic foundations of the band, his signature guitar is a very Spartan, metal guitar affair, prioritizing stability and simplicity. It’s a three-piece maple neck with a neck-through-body construction. The truss rod is assisted by graphite reinforcement, and it features 24 jumbo-sized stainless steel frets on an ebony fingerboard, with Luminlay side dots and inverted pearloid ghost fin inlays. It’s got a compound radius fretboard, which moves from 12 to 16 inches as you get further up the neck.

The reverse headstock features Jackson die-cast locking tuners, while an Evertune F6 bridge anchors the strings to the body at the opposite end. The body itself is two alder wings joined to the maple running through the center, coming in the classic Rhoads body shape with a white bevel on the gloss black body.

It features just a single master volume control and a single Fishman Fluence Open Core Modern humbucker with a three-position toggle switch that allows for three different voices: active, passive, and single coil tone. The guitar comes with a semi-rigid guitar case and a pair of Jackson straplocks to help keep it in place when on a guitar strap.

Specs

• Launch price: $2,429.99 | £1,849.99 | €2,199
• Made: Korea
• Type: Six-string electric guitar
• Body: Alder
• Neck: 3-piece maple
• Fingerboard: Ebony
• Scale length: 25.5" (648 mm)
• Nut/width: Black plastic / 42.86mm
• Frets: 24 frets, jumbo, stainless steel
• Hardware: Jackson die-cast locking tuners, Evertune F6
• String spacing at bridge: 50mm
• Electrics: Fishman Fluence Open Core Modern OEM-MO6-ABB, master volume, 3-position toggle switch
• Weight: 7.27lbs/3.3kg
• Options: N/A
• Left-handed options: No
• Finishes: Black with white bevels
• Cases: Jackson semi-rigid case included
• Contact: Jackson

Build quality

Build quality rating: ★★★★☆

The case that the Pro Plus Series Signature Christian Andreu Rhoads comes in is absolutely gigantic due to the guitar’s odd shape. It looks more like the sort of case you’d find a Nord piano in rather than a guitar, but as it’s unlikely to fit in any other standard guitar case, it’s certainly a welcome addition.

Taking the guitar out of the case, I can immediately feel a decent bit of heft from it. It weighs in at 3.3kg on my scales, so not insurmountable, but there’s something about the balance of it that makes it feel a bit heavier than it actually is. Performing an up-close inspection of the aesthetics, I can’t see anything drastically out of place. It looks great, but the gloss-black finish tends to pick up every tiny bit of dirt and dust.

There’s a little bit of paint bleed where the white bevels terminate near the neck, and the same where the nut and binding meet, but you’ve really got to zoom in to see these. I do spot a tiny circular dent in the fingerboard on the 23rd fret, which could be a tooling mark that wasn’t filled, or an alignment hole that wasn’t covered up when the fretboard was glued to the neck. It doesn’t affect the playability and is only visible close up, but I would expect better on a guitar costing well north of $2,000.

There’s nothing else out of place, though. The hardware is very well applied, and there’s an overall feeling of robustness about the guitar, thanks to its heft and the stable feel offered by the neck-thru construction. I don’t doubt at all that this guitar could survive the rigors of the road.

Playability

Playability rating: ★★★★½

Sitting down to play the Christian Andreu Rhoads, I’m faced with the inevitable issue of having to play in the classical position due to the body shape. While I’m sure many guitarists prefer this position, and with a footstool it’s objectively better ergonomically, sometimes you just want to pick up a guitar quickly and play, which isn’t possible here.

Out of the box, the Evertune bridge is not set up properly, so the guitar is out of tune. Due to its unique operation, it’s not just a simple case of turning the tuning machines either. I have to loosen the strings until they’re slack, then tighten until the pitch of the note stays the same despite the tuning machines being turned. Once this is done, it requires two more full turns, which puts it into ‘zone 2’. From here, I need to use the included hex key on the saddle to tune the guitar to correct pitch, which is D standard from the factory.

With the tuning set, I can set the bend sensitivity by tightening the tuners further, which means it will react quickly to bending and vibrato, or not at all. It’s definitely a unique feeling to be bending a string but hearing no change in pitch, and for the surgical rhythm playing Andreu is known for, this mode has some incredible benefits. Notes are always in tune, no matter how hard I press down on the strings, and it makes getting up and down the fretboard a lot easier, as I can press down hard without worrying about pushing the strings sharp.

Of course, I have to start playing some Gojira on the instrument, so I begin with my personal favorite, ‘Backbone’. It makes itself immediately clear that this is a guitar that’s made for chugging riffs and death metal-inspired tremolo picking. It comes with a 10-52 set of strings, which is nice and chunky, and with my finger on the 1st fret, the action measures at 1mm at the 12th fret on the low E string.

I find myself subconsciously trying to add vibrato to certain notes, and it's not working, which takes a bit of getting used to. You can set the bridge up so that you can bend certain strings and not others, so I opt to set the two low strings to stay stationary in pitch, while bending and vibrato is possible on the four higher-pitched strings. It’s a pretty amazing feature, and I can see why so many metal guitar players are using Evertune bridges at the moment.

The neck profile isn’t declared on the Jackson site, but to my hand it feels like a slim ‘D’. It’s very slinky and encourages fast and technical playing, with the body shape offering superb upper fret access. The jumbo frets give you plenty to bend against, which means it requires less effort to hit those full tone and beyond acrobatics. It does take some getting used to with the Evertune set in bending mode however, because it doesn’t respond in exactly the same way that a typical hardtail or tremolo bridge would.

Sounds

Sounds rating: ★★★★☆

The first time I play the guitar is in my home studio, so I plug into my audio interface and load up the Gojira Neural DSP plugin to put it through its paces. My first impression is that the humbucker is incredibly high output. Even with the gain of my input set to zero, it’s still hitting well above 0dBFS, which is so hot it makes the plugin sound way too saturated.

It’s an impressive amount of gain even with nothing in front of it, so I bring in an SSL E Channel Strip to roll back the input, which makes things a lot more controlled. Using one of the default rhythm presets on the plugin, with the active pickup voice (toggle switch towards the neck), it’s that archetypal modern metal sound: loads of attack, plenty in the high mids, and a tight, controlled low end. It’s the kind of sound that makes you want to keep chugging the low E string for hours.

With the toggle switch in the middle position, I get voice 2, which is the passive humbucker tone. It’s pretty similar to my ear, though, slightly less gain, a touch more midrange, and less low end. It’s slightly dynamic here versus the more compressed tone of the active voice, but the differences between the first two voices aren’t exactly night and day, and I naturally want to play heavy riffs and fast leads in this position as well.

Moving to toggle position 3 is the single coil emulation. It’s still pretty hot by all accounts, hitting just shy of 0dbFS on my interface with my plugin trim off, but it’s a much thinner, brighter tone. With the right amp EQ, I can get it pretty single-coil-ish, and it sounds really sweet when I play the intro of ‘Flying Whales’ with plenty of reverb and delay. It won’t fool any single coil purists, but for the mainly metalhead who wants to play the occasional clean passage, it does the job.

Verdict

It’s not a surprise that, as the signature model from a guitarist of one of the heaviest bands on earth, the Jackson Pro Plus Series Signature Christian Andreu Rhoads is not the most subtle of guitars. For chugging precision-engineered riffs, searing shred leads, and generally getting heavy, it’s a brilliant bit of kit. The Evertune bridge is a marvel for technical and precise playing, and the neck offers phenomenal playability.

I can’t imagine anyone other than dedicated metalheads and Gojira megafans finding loads to love here though, especially considering the price. Although the pickup surprised me with its capabilities, it still leans very much towards metal and rock tones. I also find V-shaped guitars are just naturally unwieldy, difficult to play sitting down, and basically impossible to put on a stand or just lean against something without the fear of it falling over

Guitar World verdict: If you want to get heavy and look like a proper metalhead while doing so, the Jackson Pro Plus Series Signature Christian Andreu Rhoads RR24 EVTN6 certainly ticks both of those boxes. It’s a great guitar for live players with a solid build, and the Evertune bridge means it can also be a proper studio weapon, provided you like playing standing up. It’s not a surprise to find a pretty one-dimensional instrument in terms of tones, but then you should be able to tell that just by looking at it.

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Deputies at the Orange County Sheriff’s Department (OCSD) have recovered nearly $60,000 worth of stolen guitars following an interception in Lake Forest, California.

“On Friday night (May 15), someone tried to strike a chord with a burglary involving nearly $60,000 worth of guitars,” reads the statement on the official Lake Forest Police Service Facebook account, “but Deputies quickly changed their tune.”

Officials detail that Deputy Carillo and K9 Billy, with the department’s K9 unit, managed to locate the suspect’s vehicle, a Kia Forte, parked at the gas pumps. The deputies detained the suspect and recovered five high-value guitars from the open trunk before taking the vehicle into custody.

Judging by the price tags still attached to the guitars when they were recovered, the Fender Custom Shop 1952 Telecaster, vintage 1950 Gibson L7-C, PRS Private Stock McCarty 594, single-cut Gibson Les Paul Custom, and Gibson Eric Clapton “Crossroads” Custom Shop ’64 Reissue ES-335 were all stolen from a Guitar Center in Lake Forest.

Due to the commercial nature of the burglary, the unnamed suspect faces severe felony charges under California law, including grand theft and commercial burglary.

“No satisfaction for this suspect,” the statement continues. “Just a failed getaway, busted chords and a setlist that includes felony charges. Deputies hit all the right notes bringing this case to a close.”

A few weeks ago, a separate suspect was arrested in Washington state in connection with a series of high-value guitar thefts at multiple West Coast Guitar Center locations.