Have you ever found yourself in the audience at a concert, mindlessly strumming along, pretending that you're the band's lead guitarist? Heck, ever do that while listening to music at home?

Well, if you fancy yourself as something of an air guitar pro, you'd be pleased to know that there's an actual, bona fide Air Guitar World Championships .

As the current air guitar world champion, Aapo Rautio, recounts in The Guardian, his crown has been a long time coming, as he's been practicing his craft since he was a kid.

“I was always ‘playing’ air guitar, miming along to the biggest rock tunes with my imaginary instrument,” he relates. “My parents were music fans – my dad loved Bruce Springsteen and U2. AC/DC was the first band I discovered on my own. Angus Young, the lead guitarist, was my hero.”

As Rautio relays, stepping on stage for the first time gave him a taste of what it feels like to be a rock star – and he was officially hooked.

He continues, “When I stepped on stage, I did my routine to AC/DC’s Whole Lotta Rosie. The crowd started chanting ‘Angus,’ just like on the live recording, and it hit me: this is what it feels like to be a rock star. I made it to the finals, playing to hundreds of people in Oulu’s market square, and I was hooked. I got the nickname ‘Little Angus’ that day.”

And if you're wondering what the competition actually involves, Rautio describes it as “intense but joyful” experience.

“Contestants have 60 seconds to give everything – explosive energy, perfect mime, rock star charisma – on an invisible guitar,” he explains. “Judges score you on a scale from 4.0 to 6.0. In the case of a tie, there’s an ‘air-off’ between the final two contestants: a song plays and you improvise.”

Preparation is everything. For this year's championship, Rautio chose an Avenged Sevenfold song. He listened to it on loop for weeks and, akin to a world-class athlete or performer, made sure his body was well up to the task: “By the time competition day came, I could feel the song in my bones,” he recalls.

Fast forward to the actual show day, and when the scores came in, Rautio had tied with Japanese champion Yuta “Sudo-chan” Sudo. And, like every other battle of the bands (or, in this case, air guitar battle), it was time for a tie breaker – appropriately labelled, in air guitar circles, as an “air-off”.

“We went head-to-head to Sweet Child o’ Mine by Guns N’ Roses. When I heard the song, I felt relieved because it was one that I knew, and more than anything I was so excited to perform one more time. When they announced I’d won, the square erupted.

“The moment is hazy. I think I blacked out from shock,” he recollects. “Then everyone started singing Neil Young’s Rockin’ in the Free World and lifted me on to their shoulders. Justin Howard – AKA Nordic Thunder – a former champion and one of my closest friends, was hugging me. I cried.

“I was Finland’s first air guitar world champion in 25 years. The previous Finnish champion, Markus ‘Black Raven’ Vainionpää, was there, too. He gave me the biggest hug and said it was ‘about damn time.’”

Despite being a guitarist and a drummer in an actual band, Rautio asserts that the air guitar community is truly one-of-a-kind, a family with the ethos of “make air, not war” summing up the spirit that permeates the championships.

“Before you go on stage, every competitor comes and hugs you. Then, for 60 seconds, you’re allowed to be free, silly, the biggest rock star in the world,” the air guitar champion concludes.

And, like every other niche, air guitar enjoys a contested history – with Woodstock ’69 largely cited as one of the documented events where air guitar originated.

Guitarist magazine has partnered with Gibson for ‘The ’Burst Experience’ – an unforgettable night of iconic guitars at the Gibson Garage London, which will give fans the chance to celebrate some of the most revered Les Pauls of all time.

On Friday October 10, Gibson Garage London will host a celebratory evening dedicated to all things ’Burst. A collection of famed 1958-1960 Gibson Les Paul Standards – widely and affectionately known as ‘The ’Burst’ – will feature on the night.

There will also be live performances and absorbing insights from a panel made up of ’Burst experts from Gibson, Guitarist and Bonham’s auction house.

Guitar fans will be able to get up close and personal with a host of famed ’Bursts, including historic ’59 models owned by Gary Moore and Gary Grainger of Rod Stewart’s band.

Moore’s ‘Stripe’ and Grainger’s eponymous ‘Grainger’ model will line up alongside a world-famous flame-top ’59 named ‘Minnesota’ and more on the evening.

The ’Burst Experience will feature demonstrations of original, vintage Les Paul Standards from 1958-1960 by guest blues rock guitar star Aynsley Lister. The panel of assembled experts will also give attendees insight into the model’s fascinating history.

Tickets for the unique three-hour event cost £19.50 and places are limited. As well as experiencing the performances and panel, guitar fans will also receive complimentary drinks, an official Gibson x Guitarist goodie bag, and the chance to be photographed alongside the ’Bursts on display.

Further still, fans will also be able to explore the Gibson Garage’s Murphy Lab guitars, from painstaking, aged recreations of classic Les Paul Standards to exquisite Made-To-Measure Custom Shop models.

Doors on the night open at 7pm. The Gibson Garage London is located close to the English capital’s famous Oxford Street at W1W 8NQ.

Tickets are on sale now. To book yours, visit www.futureevents.uk/guitarist.

Multi-award-winning photographer Kane Hibberd will bring his intimate exploration of artists and their instruments of choice to London next week. Featuring over 100 life-size images of guitars steeped in history and import, his collection of photos, designed to feel like the subject is in the room with the viewer, will be displayed at Unlocked in Shoreditch.

All images are 1:1 scale, meaning shots of everything from Paul McCartney’s iconic Höfner bass to Dave Grohl’s Gibson Trini Lopez, Joan Jett’s embattled Melody Maker and Keith Urban’s Fender Broadcaster are all displayed in life size format, presenting them in exacting, like-for-like detail.

Hibberd wants attendees to witness the chips, dents and scratches on these guitars in painstaking detail – to get up close and personal with an instrument they’d otherwise never have the chance to see and inspect like this.

The Scale Exhibition also explores the stories behind the instruments, such as Nile Rogers’ time-beat Fender Stratocaster. He had accidentally left it on a New York Subway once with the guitarist “lost in the moment after a difficult phone call,” resulting in a race against the clock to get it back.

A psychedelic Rickenbacker that has forged a reputation as big the man who plays it, Tame Impala's trippy multi-instrumentalist Kevin Parker, and one of Ed Sheeran's acoustic guitars also feature.

Beyond that, you can see Jack White’s madcap and crazily customized Fender Triplecaster Tele, plus axes belonging to thrash metal god Kirk Hammett, and indie maestro Johnny Marr.

“It feels like a lot of photography is now created and consumed within a short amount of time,” says Hibberd. “I wanted to work on something that took years, rather than days or weeks, and keep it all offline.

“The people I’ve met, the stories I’ve heard, and the places I’ve wound up in have been an absolute odyssey and I’m so glad to be finally sharing it .”

Ready to reveal itself unto the world after 12 years of working away in secret, the Scale exhibition runs at Unlocked in Shoreditch from 12 June - 31 August.

Head to Scale Exhibition for more.

NAMM 2025: And just like that, NAMM is over for another year. It seems to have come and gone in the blink of an eye – it was a day shorter this time around, so that’s probably part of it – but, somewhat paradoxically, it seems that there’s even more to talk about.

Now we’ve recovered from our efforts to bring you the best independent coverage of the world’s biggest gear trade show, our key takeaways from NAMM 2025 are starting to take shape.

For starters, any doubts over the future of NAMM should well and truly be buried at this stage. Sure, the show might look a bit different, and yes, it probably won’t go back to its pre-pandemic format, but don’t let that distract you from one simple fact: NAMM 2025 was one for the history books.

It had almost everything. Fender, Gibson, Marshall, PRS and a number of other big brands made their long-awaited returns; the show experimented with a new format; the stars were out in full force; and we had more product drops than our brains can possibly process.

But what does all that mean for NAMM and the guitar industry at large? Well, read on for our breakdown of the 11 things we learned at this year’s show – and the gear trends you need to watch out for…

1. Indonesia is in

Indonesia has a long history of guitar manufacturing, but where it was once the preserve of budget lines and knock-off builds, the amount of mid-priced big banner releases being produced there is now unignorable.

From Fender’s surprise launch of an entire new $599 Standard line, complete with Acoustasonics, through to Ibanez’s new Korn signatures, and (last year’s NAMM hit) the Yamaha Pacifica Standard Plus, there has been a noticeable uptick in high-quality, branded builds coming out of the country right now.

The tech and ability has been there for a while, but what has changed is the faith put in these third-party facilities by heritage brands. First we had the rise of the premium offshore build post-Covid, which showed just what these factories are capable of – and now the idea is trickling down to the mid-price tier in a big way.

Those post-pandemic forces of component inflation and rising labor costs have played a significant part in this, and now firms are questioning their own norms – all in an effort to get good instruments to players at prices they can stomach, while still turning a profit.

Fender’s new Standard line is a real statement in that sense, particularly given that – like a large percentage of the models coming out of the country – these new Fender Standards are being produced by third-party mega-manufacturer PT-Cort. (MP)

2. Metal guitars are starting to look less metal

There was a time when you simply couldn’t brand a guitar ‘metal’ without giving it a Christopher Nolan Batmobile-black finish and a headstock sharp enough to double as a spear for hunting wild prey. But times they have a-changed, and metal guitars are taking influence from the guitar world at large.

The long-awaited – and from us, long-campaigned-for – return of the Jackson Surfcaster is exhibit A in the metal offset revolution. Affordable, suave and with high-performance specs, it’s a powerful show of intent for the brand, and a sign of things to come. ESP, too, has opted for a Jazzmaster-indebted shape for its latest XJ baritones. OK, there’s still a lot of black on the color palette, but the shapes are definitely surf-inspired.

There’s a bit of drama here, too: one of Jackson’s greatest offset proponents, Spiritbox’s Mike Stringer, has ended up signing with Aristides for his own offset signature guitar – complete with new signature Bare Knuckle Halcyon pickups – which will have come as a blow to the American firm.

Spare a thought, however, for the neck pickup, which appears to be very much out of vogue. ESP’s 2025 range features no fewer than 13 bridge pickup-only models, led by Mick Thomson’s first signature guitar for the firm. Jackson’s Pure Metal range also features a sole humbucker in the bridge.

It’s telling that many of these models feature Fishman Fluence pickups with switchable voices – these guitars are more versatile than their configuration might suggest. Could the arrival of next-gen electronics eventually spell the death of the neck pickup? We’ll wait and see… (MAB)

3. Solidbody guitar shapes are exciting again

It’s easy to come down with a strong sense of gear fatigue while browsing what’s available on the electric guitar market. Stratocaster spin-offs, Telecaster tributes, Les Paul clones… You’ve seen them all before.

Fortunately, we’re starting to see something of a shift. Guitar brands are beginning to favor innovation and experimentation over uninspiring repeats of the past, and it seems we’ve reached a point where players and firms alike are beginning to get restless with the stagnant solidbody market.

To that end, Eastman has been flying the flag for fresh design ideas. Its D’Ambrosio line from last year’s show was followed up this year by the FullerTone – another run of originally envisioned instruments that inject a bit of ‘new’ into a market otherwise obsessed with the past.

The FullerTones were not alone, either. Collings, another boutique brand, threw its hat in the ring with the 71 M, while Dean’s new Doyle Wolfgang von Frankenstein Annihilator, Cream’s Voltage and Dunable’s Evil Instruments Jackhammer pushed the boat out even further with some of the most outrageous solidbody designs.

The point is, solidbody guitars are starting to feel exciting again. There will always be a place for classic models, but a bit of variety is a good thing – and it looks like plenty of variety is on the way. (MO)

4. Solid-state is back, baby

As drive pedals have become more amp-like in their dynamic response and gain structure, guitarists have become more open to the flexibility – not to mention light weight – of solid-state amps. But 2025 might be the year where players are openly seeking the kind of tones that would cause tube aficionados to choke on their caviar.

Case in point: the Peavey Decade, now back as the Joshua Homme Decade Too after a 2021 viral video in which the Queens of the Stone Age frontman badged it his “secret weapon”. Now, the jury’s out on whether it is indeed the source of his studio tone, but it didn’t stop the internet freaking out, causing Peavey to get in touch, and Homme to put his name to a new-and-improved edition.

Then there’s MXR’s take on the Rockman. Sure, it’s a pedal, but it perfectly captures the original headphone amp’s pristine cleans and charmingly boxy distortion, which found their way onto countless ’80s hits. It makes sense: those tones have come back around – it’s the kind of thing we could imagine Mk.Gee having a lot of fun with, for example.

Companies taking solid-state amps to new territories, too, of course. Orange’s entire NAMM 2025 guitar amp lineup was solid-state, debuting the new O Tone 40 combo and a trio of Baby heads. As tube supplies dwindle and the cost of maintaining amps goes up, transistor amps are becoming an increasingly attractive proposition, both practically and tonally. (MAB)

5. Tube builders have caught on to the Marshall mod game

The work of the pioneering, so-called ‘amp wizards’ of the ’70s and ’80s has gained increasing prominence in the last decade, as players and producers have sought to understand the modded-Marshall magic produced by once-unsung techs like Eddie Van Halen collaborator José Arredondo.

These tones were previously the preserve of those in-the-know – or at least those who had the phone number of a decent amp tech – but we’re now seeing a host of products that aim to bring them to a wider audience.

The most notable of these is the Marshall Modified series, which offers factory-modded takes on its classic 1959 and JCM800 builds – both of which come laced with classic mods (eg the Plexi Master Volume, or JCM800’s gain boost) that have been wired up in-house at the firm’s HQ in Bletchley, UK.

Then Dave Friedman recently announced he had the blessing of the Arredondo estate to launch “an end-all-be-all amplifier with his name on it”, packaging many of his pioneering high-gain mods into one circuit.

Even the fire-breathing circuit on Blackstar’s new Doug Aldrich head is essentially a hot-rodded Plexi – and sounds superb for it. (MP)

6. The amp modeling race has reached a tipping point

Neural DSP, Line 6, and Fractal have hogged the limelight in the amp modeling world, and though IK Multimedia and Fender have made the game more competitive in recent years, it’s historically been a rather exclusive game, played only by players who can afford high-end gear.

Budget amp modelers have never have they been taken that seriously, but now it looks as though there’s a serious ‘best of the rest’ contest going on, and it won’t be long before the pool of accepted amp modelers becomes much, much deeper.

Mooer’s GS1000 stands out in that regard. With premium capturing tech usually reserved for IK Multimedia and Neural DSP, as well as some truly noteworthy tones (GW’s EIC took one for a quick spin on the show floor this year and was impressed by what he heard), it looks like it has all the makings of what could be a popular all-in-one rig solution. Definitely one of the most notable releases of the show this year.

To further illustrate that point, the modeling market is getting wider, too. Headphone amps, for example, are increasingly becoming A Thing, as evidenced by Positive Grid’s upcoming Spark Neo. Donner’s Hush-X Pro travel guitar features guitar and amp modeling built-in, complete with third-party IR options.

There are new competitors emerging, too. Quilter and Neunaber showcased the first fruits of their combined labor since their merger in 2023. The newly developed Elevate has a retro vibe, but its modestly pitched price point and formidable array of amps and effects could make it a contender when it drops in May.

The amp modeling race has always been an interesting watch, no more so than in the last few years, but we have this sneaky suspicion that a new phase of play is about to begin. (MO)

7. The signature pedal market is only going to get bigger

Signature guitars can be divisive: they’re a great headline-grabber and an aspirational purchase for fans. But the more identifiable the design, the more likely it is to put off as many players as it turns on – and fill other guitarists’ heads with preconceptions about what you sound like before you even play a note.

Signature pedals, however, are a much safer bet. Since they’re on your pedalboard, they don’t define your sound in the same way a guitar does; they’re part of a wider sonic palette. And they’re a cheaper, more impulsive purchase for fans, too.

So perhaps it should come as no surprise that we saw so many artist-designed stompboxes this year – Yvette Young, Phil X, MonoNeon, Joe Satriani, Rex Brown, Mick Ronson and Taylor Swift bassist Amos Heller were all touting new own pedal releases.

Besides artist-approved tones, these custom designs are a good excuse for some radical aesthetic treatments, too – the space-age chrome of Joe Satriani’s Tonex Mini; the otherworldly graphics of Yvette Young’s Qi Etherealizer with Walrus Audio; the included stickers with MonoNeon’s fluorescent Whammy.

Gone are the days of nondescript boutique boxes. Long live the colorful pedalboard! (MAB)

8. NAMM has evolved – into the old NAMM

Before it even started, the talk of the show this year was the return of Fender and Gibson. However, anyone expecting a marketing blitz and show-stopping booth wars will have been disappointed. Both let the gear – and the trestle tables – do the talking.

Why? Well, NAMM was first established to build relationships with dealers and distributors, and that’s the value for most gear firms. Guitar-makers have YouTube now; they don’t need to use NAMM to reach the world. Instead, they want to talk to retailers and, perhaps, get them shaking hands with a star endorsee.

This year’s show felt like a real event, but at the same time it was notable just how many brands operated closed-door showcases and appointment-only previews. It made us wonder whether NAMM might resort to limiting public access once more. We suspect there’s a balance to be struck down the line there, either way.

This was also the year that the ‘massive product drop’ returned. Guitar World was on hand and in the office throughout to bring the most comprehensive independent coverage of NAMM out there, but even we were shocked by how much new gear news dropped over the last few days. Just take a look at our NAMM news hub this year – it’s a beast! (MP)

9. Collaboration, not confrontation, is the focus

There has been a marked shift in the way guitar companies interact in recent years. There’s (finally) an awareness that nobody uses one brand, one type of guitar… one anything. Artists endorsing multiple brands – Kirk Hammett being perhaps the most famous example – has become de rigueur.

But it’s emblematic of a wider sea change, and one we observed most keenly at NAMM this year. Company reps were keen to get out of the booths and check out new gear – and it didn’t matter who made it.

Jack White has really pushed that sense of collaboration with Third Man Hardware, which has worked with everyone from mass-market budget companies like Donner all the way to boutique builders like Coppersound. IK Multimedia marketed its new TONEX cab – a major undertaking for the firm – to users of all amp modelers, not just its own.

Strat poster boy Cory Wong, meanwhile, surprised everyone by designing a new guitar with Ernie Ball Music Man – but made it very clear that the dual-humbucker design serves a different purpose to his main squeeze. And Fender was OK with him branching out.

As he told us, “We’re at a point where the guitar is in a different place in the zeitgeist of general music where it’s like, ‘You know what? Maybe we can be a little more “community” together.’ Guitar companies, guitar players, I see less and less competition. If everybody finds their lane and finds their thing, I think they can coexist in a wonderful way.”

At this year’s show, there was an increasing awareness of how brands can work together in the wider ecosystem of guitar gear. As Wong points out, “Ernie Ball Music Man wants Fender to do well because they’re going to sell more strings!” (MAB)

10. Firms are reclaiming their legacy

Iconic gear will always inspire spin-offs, tributes and even replicas, but sometimes the gear that started it all is precisely what players want. The trouble is, it’s usually not readily available, and guitarists are left looking for the next best thing – or searching for an off-brand alternative – to satisfy their G.A.S.

This has two knock-on effects: players don’t get exactly what they’re after, and the brands that pioneered the gear have had to sit back while their competitors ride on their coattails.

This is most apparent in the case of Marshall – a firm so steeped in the history of amp modding, but yet is somehow entirely detached from it in a practical sense owing to the fact that it’s never addressed and acknowledged its heritage through product releases.

Instead, it has had to watch on while the likes of Friedman and other firms take the ‘modded Marshall’ blueprint and repackage them under their own banners.

That’s all changed now, though, because Marshall has spearheaded its amp comeback with the Modified Series – a range of amp heads that directly pay tribute to the company’s past by offering in-house mods for the first time ever. It’s a big move from the UK amp builder, leafing through the history book and taking back something that has historically been associated with it, but (if we’re being honest) it’s also long overdue.

Dumble is now being run by the ‘Dumble Preservation Society’, which will work to maintain the legacy of the Overdrive Special, while Peavey entered the preamp pedal game with stompbox recreations of its most famous amps, alongside its Josh Homme Decade Too.

Iconic brands are aware of what guitarists want from them, and that is cause for cheer. (MO)

11. NAMM can still thrive in 2025

There was one message that kept getting bandied around by all the company reps we spoke to: this was the best NAMM since 2020 – before Covid made us all question the very idea of trade shows. But where events like video game staple E3 may have shuttered permanently, NAMM has managed to make a triumphant return, against all the odds.

Music is a communal activity. And guitars are tactile, tangible. They’re tools to convey emotion. And in-person interaction is important to share that experience. For some of the larger companies – Fender, Gibson, PRS, ESP – there was a push to focus on the dealers, and closed-door meetings were the order of the day. Regardless, to have them back made a big difference to the scope and scale of the event.

And then there were the events around the show. This year’s gigs are destined for the NAMM hall of fame – PRS’ 40th anniversary lineup alone was a once-in-a-lifetime moment, with Orianthi, Herman Li, Mark Lettieri and John Mayer all paying homage to Paul Reed Smith’s history-making guitars, while the likes of Jack White, Tom Morello, Nita Strauss, Marty Friedman, Rob Trujillo, Alex Skolnick and countless others could be found performing in and around Anaheim across the weekend of the show.

Throw in the sheer volume of product releases and stars roaming and performing on the floor, and this felt like a vintage NAMM. It’s proof that, 123 years on from the first gathering of the National Association of Music Merchants, there’s still plenty of life in the guitar world’s biggest trade show. And long may it continue. (MAB)

NAMM 2025: It’s here! The most exciting event in the guitar gear calendar is back, and it’s set to be the biggest since 2020.

We’ve got the return of Fender, Gibson, Marshall, and more simultaneous product announcements than we’ve seen in actual yonks. There are artist appearances as far as the eye can see. Star-studded live shows. We’ll be there to bring you the very best from the heat of the action – and we’ll be bringing it to you LIVE.

This year, our long-suffering Editor-in-Chief Mike Astley-Brown will be returning to stalk the halls of the Anaheim Convention Center. A grizzled NAMM vet, 2025 marks his fifth, sixth or seventh NAMM (he’s lost count at this stage).

Joining him will be first-timer and GW Senior Staff Writer, Matt Owen, whose gear scoop senses are already a-tingling at the prospect of so many launches in one place.

So join us, why don’t you, on a journey through the latest and greatest that NAMM 2025 has to offer. We’ll be sharing our choice gear picks, most awkward celeb encounters and the downright weirdest stuff we can find right here, as it happens.

Meanwhile, our fine editorial team back at the office/home will be bringing you regular updates on the hottest news hitting the inboxes, and anything else Mike and Matt may have missed while they’re gathering hot goss/inhaling pizza by the slice/struggling to find Wi-Fi.

For the complete guide to everything launched at this year’s show, do point your browser to our comprehensive NAMM 2025 news coverage. But for all the buzz of the showfloor – plus key gear announcements and everything else besides – this is the place to be.

It’s NAMMertime, baby – and you’re invited… LIVE!

Hello from Anaheim! Mike and Matt have officially landed, and we are badged up and ready to go. The show officially starts tomorrow, but today is press preview day, and we're promised some very special guests...

We're coiled like tightly, erm, coiled content snakes, ready and waiting to pounce on the juiciest tidbits from Martin's annual pre-NAMM conference. The anticipation... It's palpable. Or maybe it's the 2pm beer.

….and while we wait, we’re very conveniently stood next to the Billy Strings D-X2E, which has just been announced. Check out those contours. Very nice indeed.

It’s been unveiled alongside a Billy Strings D-28 signature, which seems to have gone walkabouts from its hanger…

Peter Frampton is only bloody here! The guitar legend discussed his history with Martin, including his classic Camel signature model, and hinted at future guitars with the firm, as well as his desire to keep playing live as long as he possibly can.

This is not a drill, people! Marshall just announced pedal versions of its most iconic amps at the media preview day - and we've got all the info you need. More info on the latest from returning giant of amplification coming soon...

We were huge fans of the Yamaha TAG3 C TransAcoustic when it came out last year, and it turns out so was Yvette Young – who was on hand during today's Global Media Day to demo the futuristic acoustic in all its glory. Those built-in effects are truly something to behold. Young's playing was pretty spectacular as well, of course.

Session man of the moment Justus West joined Taylor visionary Andy Powers to jam on the firm’s just-launched Gold Label Collection, which introduces a new Super Auditorium shape, alongside a new neck joint, bracing and even headstock logo. We also discovered that Powers is a ridiculously good soloist, as well as being an all-round design genius.

Fender’s return to NAMM has been the talk of the town in the lead up to this year’s event, and while it won’t be exhibiting on the show floor as usual this time out, the Big F still has plenty of tricks up its sleeve – one of which was a comprehensive, strictly-behind-closed-doors display of its Custom Shop and Masterbuilt collections for this year.

Meticulously assembled models with unsung retro finishes, bonkers builds with mind-bending artwork, revised takes on wild designs, and downright absurd creations spanning the Fender, Jackson, Gretsch, EVH and Charvel names were all showcased during the evening, which was well attended by notable players and industry execs alike.

Feast your eyes, dear reader; these are the pinnacle of custom shop guitar luthiery. Oh, and please excuse the paper tags – they're from retailers, who clearly shared our enthusiasm in the guitars on display...

No, your eyes aren’t deceiving you: that really is an Offset Stratocaster. Built by Master Builder Kyle McMillin, it elongates the classic Strat shape, and pairs it with a Sage Green Metallic Closet Classic lacquer finish for that well-aged look. We kind of want one. Destined for a Parallel Universe model down the line, surely?

Fender CEO Andy Mooney has raided his personal stamp collection for the aptly named Custom Shop Stamp Collection. Each of the 100 unique Telecasters pays tribute to a different country, made up of 100 or so stamps from that country or region. All proceeds from the sale of each model will go directly to the L.A. music community.

No matter how complex the Custom Shop creation, building guitars isn’t technically rocket science. Except when it’s the CNCPT Stratocaster, built in collaboration with aerospace engineer Marshall Doyle.

That web-like design is the result of a proprietary nickel-plated stereolithographic body, which you can see straight through. So, uh, yeah, don’t expect this to crop up in the Player Series anytime soon.

Fender has kicked off the show with one of its most significant product announcements in years. The new, Indonesian-built, $599 Standard series brings the concept of an affordable Fender back to the table – and it’s the greatest show of faith yet in the company's Indonesian facility.

Though he's long been known as a Strat man, Cory Wong has teamed up with Ernie Ball Music Man for one of the show's most striking signature models so far, a StingRay bass-inspired electric guitar. Don't worry though, his ties to Fender are still rock-solid.

We've sure been waiting for this one. At long last, Jackson has revived its offset Surfcaster for a new generation of heavy players – and it’s surprisingly affordable. Interest in the model – which was discontinued decades ago – has surged in recent years as Periphery’s Misha Mansoor and Spiritbox’s Mike Stringer have raved about their own Custom Shop creations – we can only imagine that's helped paved the way for the offset’s return.

Fender and Gibson's return to NAMM got a lot of the headlines, but equally as notable is the return of Marshall. The none-more-iconic amp brand announced its return in style with a trio of new releases, one of them being the Studio 900, which reimagines the legendary JCM900 by condensing its gain and growl into a portable, practice-friendly head and combo. Peep the company's new Overdrive Series pedals and factory modded takes on the 1959 Plexi and JCM800, too.

First up on MO’s Day 1 schedule was a trip to the Roland room to check out the firm’s Lifetime Achievement Awards. Billy Idol legend Steve Stevens got the nod for Boss this year, but unfortunately wasn’t able to attend. Plenty of cool Boss gear to admire while there, though…

We get the feeling Marshall is back...

…and Gibson is back too, apparently. This huuuge art piece (which is made from a smorgasbord of Gibson bodies, fingerboards, headstocks, and more) is a bit of a giveaway.

MonoNeon gave a truly galactic performance at the DigiTech booth this morning, demonstrating what makes his signature Whammy pedal – the first ever – tick, including that bonkers three-octave up setting. Trust us, it's wild.

Just prior to the opening of the show, Gibson quietly unveiled a new Cherry-finished Warren Haynes signature Les Paul. Fitted with an on-board clean boost, the guitar most notably fulfills Haynes' 2024 promise: “I am about to delve into P-90 world pretty hard.”

Who did we see at Gibson? Why, our ol' pal Jared James Nichols, reliably the busiest man at NAMM.

It's back. Josh Homme's "secret weapon" has returned, with improvements suggested by the Queens of the Stone Age leader himself. At $299, be prepared for used prices to plummet. What's more, Peavey is dropping a new line of pedals based on its classic amps - including the Decade.

It's official: Ernie Ball has won NAMM 2025.

The Jackson Surfcaster is back! And it's real! We touched it! With a slinky satin neck feel, top-drawer upper-fret access and a satisfying heft, it promises to be a real winner in the mid-priced metal guitar market – and beyond. This has got crossover appeal written all over it.

Like many returning brands this year, Gibson isn’t exhibiting its instruments on the show floor. It is, however, showcasing some of its latest releases in an exclusive behind-closed-doors showroom, which we were able to take a peak at.

Gibson’s Mat Koehler was on hand to walk us through the catalog, which featured Warren Haynes’ just-released P-90 Les Paul signature, the returning Tobias bass, a pair of cheekily named Double Trouble Les Pauls, those NAMM Anniversary LPs, and a suave new double-pickguard-loaded J-45 signature for Margo Price. Lots to like here – and we got hands-on with it all.

We saw Martin show off not one, but two Billy Strings signature guitars on the first day of the show. Now we’ve had the full info and prices on the Martin Billy Strings D-28 and Billy Strings D-X2E and, we have to say, it’s refreshing to see a brand dropping a more affordable ($899) option on day one – compared to the increasingly common trickle-down marketing game we've all come to expect.

We've seen it on the show floor...now we've taken a proper deep dive into what Josh Homme fans (and Peavey Decade enthusiasts) can expect from the new and improved Peavey Decade Too. And, oh, Peavey have also packed the original's iconic features into a pedal...

And British tone-smiths Orange Amps have done it again with the newly launched O Tone 40 – a single-channel, no-nonsense, 40-watt solid-state combo amp loaded with integrated tremolo and reverb effects

The Fender Custom Shop can always be relied upon to catch your eye at NAMM and while we already checked out a host of models on the show floor, we’ve now had the official word about the launch of the Cocktail Collection – a series of (truly) unique guitars, each of which has been inspired by a famous cocktail. The theme works better than you’d think...

Rick Beato, Mateus Asato, and Tim Pierce shared their collective wisdom on all-things-content at a well-attended panel this morning (seriously – I had to lurk in the back there were that many people).

The guitar greats shared their insights and personal experiences in content creation, what it takes to crack the YouTube code, and more. Some interesting takes from Asato on his social media hiatus, too, and how Rick Beato helped him through that period…

You never know what you’re going to get when you take a journey through the Boutique Guitar Showcase, but one thing’s for sure: your mind will be blown by the end of it.

Some crazy builds are on display again this year, including a crazy Kraken model that took over a year to build and features 500 individual components.

As is the case at every NAMM show, Ibanez’s signature lineup is absolutely stacked with new releases. The biggies here include new signatures for Korn pair Head and Munky, a flashy new Satch model, Josh Smith’s long-awaited FlatV2 (which has been teased for over a year), and a sleek new Lari Basilio variant.

Matteo Mancuso is one of the finest guitar talents of this day and age, so when we heard he’d be performing at the Yamaha Stage we simply had to be there. A 30 minute set simply was not enough - we could have stood there and listened to his playing all day. Awe-inspiring stuff.

Tim Henson had some serious requests for his first ever signature strings with Ernie Ball. We caught up with him to chat new Polyphia, Hans Zimmer and his forthcoming solo album. Dude is BUSY.

I cannot emphasize how overwhelmingly awesome and unashamedly '80s MXR's Rockman X100 pedal sounds. Solid-state guitar sounds are finally getting their due, and this is top of the heap. Four modes, one chorus, stereo out. Huge.

Designing fresh new electric guitars: it’s one of the biggest challenges that modern brands face in an ever-growing market filled with clones, copies and familiarly styled instruments. Eastman, though, has somehow made it look easy once again.

Building on its D’Ambrosio release from last year, the firm’s FullerTone range absolutely oozes with irresistible class. With fresh body shapes, two pickup configurations, a suite of lush colorways and an innovative two-bolt neck joint, the FullerTone guitars are literally the stuff of dreams. I’ve passed through the booth at least six times already… and I’ll probably go back tomorrow.

Guitar amp headphones are increasingly A Thing, and Positive Grid is set to take the fight to Boss with the Spark NEO, which brings AI-powered smart amp tech with fully wireless connectivity. You get 33 amps and 43 effects, the price tag is pretty sweet, and it’s coming out soon. Real soon.

Electro-Harmonix is celebrating 50 years of the Small Stone with a luxurious golden version. Loaded with the original ’70s circuit – utilizing a stock of NOS CA3094 chips the company recently unearthed – just 600 will be made, and even come in a wooden box. They’re priced at $300.

Those new EVH SA-126 Standard models look great up-close, especially that sparkle green. Built in Indonesia, the new models bring the price tag down to $899.

Jack White has really taken NAMM in his stride this year, even making a guest appearance at the Third Man Booth. We got to say hi, and thanks for all the cool gear. He even showed us the new neck shape on his latest blue Triplecaster. Freaking out just a little bit right now.

If there’s a nationwide shortage of 4x12s, it’s because they’re all at the Orange booth. The iconic British amp co was also displaying heads from its history, including the OMEC – the first digital programmable amp.

There's nothing more to say other than bravo, Revv Amps. Bravo.

It’s been a big year for amps at NAMM, and Friedman’s newly launched José Arredondo range – which honors one of the guitar world’s greatest amp builders – is up there as one of the key releases.

Dave Friedman himself spoke about the Arredondo range in a recent interview with us, and we were able to check it out in person on the show floor, where it made its grand debut. This first amp promises to be an “end-all-be-all” amp inspired by the many mods of the late Arredondo, who worked with Eddie Van Halen, Steve Vai, James Hetfield and more during his career. It sounds killer, looks the business, and apparently there’s still more to come…

At last! A Sterling by Music Man Kaizen! Folks have been asking for this ever since the flagship Tosin Abasi-designed Ernie Ball Music Man model was unveiled a few years back, and now it is finally here. The affordable take on the futuristic, space age design starts from $849 (a far cry cheaper than the $4k EBMM models) and lowers the cost by ditching some of the more high-end appointments of its source material. Still, it’s a gorgeous guitar – and feels like an absolute dream.

It’s joined on Sterling’s 2025 roster by new signature guitars for Ryan ‘Fluff’ Bruce, Steve Lukather and Rabea Massaad. Quite the lineup…

Looking for something to help you nail the Eddie Van Halen 'Brown Sound'? The AmpRx Brownie – which promises to optimize the tone of your tube amp by letting you dictate the desired voltage – might just do the trick. A remarkably convenient sized gadget, too.

Donner's Hush-X travel/quiet practice guitar caused a surprisingly large stir when it first arrived – dropping the folding gimmicks for a simple headless bolt-on build that proved ultra portable, had a host of smart features, sounded superb and offered excellent value for money.

Now we have the Donner Hush-X Pro, which adds amp and guitar modeling, plus a suite of effects to the package – all on-board the guitar itself – and still keeps the price tag below $300.

Blackstar has teamed-up with Dead Daisies guitarist (plus, ya know, Whitesnake, Dio, Glenn Hughes...) and hard rock journeyman Doug Aldrich on his very own red special, the Blackstar DA100 – an “aggressive, ripping” tube amp with a nifty secret weapon...

The Tortex is just about everywhere – I mean, I can see three different variants scattered across my desk as I write this – but Dunlop has now announced a new grippy take on the tortoise, the Tortex X Flex, meaning less slip on your pick. Who knows, maybe it will even stop them flying out of your pocket every time you check your phone...

Ibanez has unveiled its signature line-up for the coming year. With Korn guitarist Brian ‘Head’ Welch back in the fold alongside his bandmate James ‘Munky’ Shaffer, it’s seen fit to reprise one of the first major seven-string builds, the K7 – though as the YIN and YANG model names imply, they both have individual spins on the concept.

Then there are new models for Josh Smith and Joe Satriani, and some lovely black finish options for both Lari Basilio and George Benson’s signatures.

Oh now this does look fun – DigiTech has announced the HammerOn pedal – a 7-in-1 pitch-shifting addition to the Whammy family that promises “hands-free, hammer-ons” to open up new playing frontiers – not least, with its ‘Impossible’ mode.

We're still recovering from the PRS 40th Anniversary party at the House of Blues last night. A cavalcade of PRS superstars including Orianthi, Herman Li and David Grissom performed, but it was this closing solo from John Mayer – accompanied by Mark Lettieri, who had already stunned with his own set – that stole the show.

On Friday, January 24, PRS Guitars celebrated its 40th anniversary in style with a who’s who of the brand’s loyal artists coming out in force to pay homage to the firm’s founder and all-round guitar genius, Paul Reed Smith.

One of these was none other than John Mayer, who joked, “You talk about PRS and some say, ‘They’re too nice.’ What’s too nice? You want that special vibe that only tuning every song can give you? You want bad intonation?!”

Apologies for any typos, but my hands are still shaking: we just visited the discreet Dumble showroom, and it was the single most surreal experience I’ve had on the job. We saw Stevie Ray Vaughan’s Dumble Special, the first ODS the amp legend built, Robben Ford’s own model, and more.

We also played through a brand-new Dumble amp, but more on that soon (I need to sit down for a bit first)…

Taylor has ushered in a new era of its storied acoustic guitar building legacy with the announcement of the Gold Label Collection. It introduces a new Super Auditorium body shape and fresh headstock design, and promises to deliver “ sound and visual aesthetic unlike anything Taylor has ever offered”. Up close, they look very dreamy indeed.

Well, I can finally tick this one off the bucket list. The incomparable Jacob Collier drew an absolutely mega crowd when he rocked up to demo his new signature guitar at the Strandberg booth, and the multi-instrumentalist was very kind to give us five minutes of his time to chat about tunings, techniques, dream guitar collaborators and his relationship with Strandberg. First Dumble, now this. What a day it's been already. I think I need a lie down.

We've already heaped praise on Eastman for its own efforts in designing fresh electric guitars, but we should also give a shout-out to Collings, whose all-new 71 M model is equally easy on the eye and another example of classic-yet-fresh guitar building done right. With the firm's first six-in-a-line headstock, the 71 M is a big release for Collings, and we can't wait to see where the firm will take this classy range in the future.

The Spring King has, ahem, sprung back to life in the form of the Spring King Junior – a fresh new take on the cult classic reverb pedal. Yes, it still has a real spring in it. Yes, you can still kick it to create wild and wonderful ’verb effects. Yes, we really want one.

ESP’s booth may have been closed to the public, but we were lucky enough to be given the full tour – and yes, the Japanese guitar co brought some of its astonishing Exhibition builds along for the ride. Our favorite? That marble-effect finish Viper. Stunning. And that floral hardware on the Eclipses? *chef’s kiss*

Dean’s Doyle Wolfgang von Frankenstein model has always offered the most pointy bits per dollar. But now a more affordable version, the Annihilator X, is arriving this year, priced at $599. Remarkably, it retains many of the model’s distinctively dangerous features, although we can confirm it’s surprisingly comfortable to sit down and play.

Mooer’s GS1000 has been the talk of the office since it was announced just ahead of the show. I/Mike had a chance to plug in for five minutes and run through some presets, and can attest to the quality of Mooer’s algorithms these days.

The touchscreen navigation wasn’t as intuitive as the Quad Cortex or Tone Master Pro, but at $519, maybe it doesn’t have to be.

Yvette Young conjured some absolute MOODS at the Walrus Audio booth as she gave us a guided tour of the Qi Etherealizer. Probably the most serene tones we heard all weekend.

Bare Knuckle dropped the Halcyon humbucker for Spiritbox djent-slinger Mike Stringer. Apparently, it’s the highest-output pickup the firm has ever produced – and as someone who has used and abused the brutal Black Hawk, I can confirm that’s quite an achievement.

We caught Vernon Reid, the man behind a thousand pedalboards, roaming the halls in search of fresh sounds, and thanked him for bringing attention to so many underrepresented players. This man is such a force for good in the guitar world. We’re lucky to have him.

Coheed and Cambria’s Claudio Sanchez has started his own brand, Evil Instruments, produced under the watchful eye of Dunable. The Jackhammer brings Sanchez’s own custom model to the rest of the guitar world, and will be available in South Korean and USA-built tiers. We’re big, big fans of this.

Suhr has dropped a shorter-scale model – we’re talking 24.625” here – called the Oso. It’s a fresh outline for the firm and was drawing plenty of eyeballs at the show.

Last night’s PRS anniversary bash also played host to some incredible artefacts from the guitar firm’s history.

Most notable was this build from 1976, handmade for Peter Frampton, and the first Paul Reed Smith guitar to ever feature bird inlays.

The inlay material was hand-carved by Smith out of old piano keys, and the design was inspired by his mother’s love of birdwatching.

Ciari Guitars, the firm responsible for those insane folding builds, has launched a Steve Stevens signature model, the Ascender Premier. Kitted out in Josie Pink, with Stevens’ trademark ray gun accents (and Bare Knuckle Ray Gun pickups), it’s one of the most premium models we’ve seen yet from the company.

The combined forces of Quilter and Neunaber have borne fruit in a big way with the Elevate, the companies’ multi-effects powerhouse.

Simultaneously old-school and forward-thinking, it sounds killer, and will drop later this year at a price point that will compete with the big boys of modeling.

Jack White’s tech Dan Mancini showed us around the latest iteration of the Third Man mastermind’s Blue Sparkle Lowrider Telecaster – and this one is getting an official release, courtesy of the Fender Custom Shop.

Guitarist and YouTuber Maxxxwell Carlisle - AKA Guitar MAX – has teamed-up with Harley Benton for a budget-friendly signature model, the Guitar MAX Fusion. It’s a surprisingly versatile spec, with a flexible pickup combination (including coil-split option), plus a Floyd Rose 100 trem. It comes in a variety of finish options – and is priced at an attractive $435.

Appropriately, given their stealthy garb, Jackson has stealth-launched a trio of no-nonsense limited edition single-pickup models, with the Pure Metal range. It says they are “built for speed, equipped for domination” and each comes loaded with a Fishman Fluence pickup, meaning they’re more versatile than you might think...

This little box is bigger news than you might think – Fender has clearly been eyeing up the iRig when it comes to its new Link I/O interface – a studio-grade audio interface that can fit in your pocket.

It’s the latest move from the firm that, following its PreSonus acquisition in 2021, is aiming to be a one-stop shop for the home recording player. What’s more, at just under $80, it’s priced to compete...

As the Convention Center closes its doors and the outdoor stages are packed away, we bid farewell to dear old Anaheim. By all accounts, it's been a vintage NAMM – the best since 2020, some would argue – and it was packed with the most January gear releases we've seen in quite some time.

We'll be rounding up the hottest trends in gear this year and sharing demos and interviews from the showfloor in the coming days, but we are officially calling time on this here liveblog. Thanks for joining us on our journey. See you next year!

NAMM 2025: Renowned guitar pickup and accessory firm DiMarzio has announced that it will not be attending this year's NAMM show. It joins boutique guitar brand Maybach Guitars in its decision not to participate in the annual trade show due to the devastation caused by wildfires raging across the Greater Los Angeles area, now in their 10th consecutive day.

In a statement shared exclusively with Guitar World, Larry DiMarzio comments, “After witnessing the terrible destruction caused by the Los Angeles fires, it seems like the wrong time for a party. It is with a heavy heart that I've canceled all DiMarzio’s activities related to NAMM 2025.”

So far, only DiMarzio and Maybach Guitars have publicly withdrawn from this year's NAMM, which is still scheduled to take place from January 21 to 25 in Anaheim, California.

According to NAMM CEO John Mlynczak, “Anaheim remains unaffected by the fires, which are located 60 miles northwest. Both Los Angeles International (LAX) and Orange County (SNA, John Wayne) airports have remained fully operational. In addition, all L.A.-based and Southern California NAMM member companies are still planning on attending and exhibiting at the show.”

Mlynczak adds that the NAMM team is in close contact with Visit Anaheim regarding hotel availability for evacuees. While the city has made more than 35 hotels available to those currently displaced, its “considerable distance from the impacted areas” means that many evacuees are currently being housed closer to the L.A. area.

He continues, “We have confirmed with officials that there is ample additional hotel room capacity available for those who are displaced. The 2025 NAMM Show will be able to take place as planned from January 21-25 in Anaheim. This global gathering of the music products industry is about unity, and this year, we unite to support our members impacted by these devastating wildfires.”

NAMM has also committed $50,000 to a relief fund providing needs-based assistance to NAMM members, employees of member companies, music makers, and music education programs affected by the wildfires.

NAMM 2025: Boutique guitar company Maybach Guitars has announced that it will officially be dropping out of this year's NAMM Show. The decision comes during an uncertain time for southern California, and the music industry at large, as wildfires continue to rage across L.A. with no clear signs of stopping.

In a statement shared on social media, the German builder says, “After careful consideration, we at Maybach Guitars have decided not to attend the NAMM Show this year.

"This was not an easy decision, as NAMM has always been an incredible opportunity to connect with our community, showcase our instruments, and celebrate the music industry.

The statement continues, “However, the devastating wildfires currently raging across California have created a situation that demands responsibility and sensitivity. While Anaheim is not directly affected at this time, the broader impact of these fires on the environment, local communities, and public safety is deeply concerning.

“We believe it is not the right time to gather for an event of this nature when so many are facing hardship. The safety of our team, partners, and the global community is our highest priority.”

Maybach Guitars states that the team feels it is essential to show solidarity with those suffering as a result of the fires, acknowledging the thousands who have lost their homes and the shelters in need of space and resources.

“Instead, we will find other ways to stay connected with you all and share our passion for music and craftsmanship in the coming months.”

Five days ago, NAMM CEO John Mlynczak confirmed that the annual trade show is scheduled to go ahead as planned. In an updated statement, Mlynczak noted that Anaheim remains unaffected by the fires and that both Los Angeles International (LAX) and Orange County (SNA, John Wayne) airports are fully operational.

“We are also in direct contact with our partners at Visit Anaheim regarding hotel availability for evacuees,” he asserts. “Anaheim has graciously made its more than 35 hotels available to those currently displaced, with under 300 evacuees housed at present.

“Due to Anaheim’s considerable distance from the impacted areas, many evacuees are being accommodated in locations closer to the Los Angeles area. We have confirmed with officials that there is ample additional hotel room capacity available for those who are displaced.

“The 2025 NAMM Show will be able to take place as planned from January 21-25 in Anaheim,” he concludes. “This global gathering of the music products industry is about unity, and this year, we unite to support our members impacted by these devastating wildfires.”

For the latest updates, visit NAMM.

NAMM 2025: One of the biggest events of every NAMM Show is the She Rocks Awards, an event that celebrates the achievements of women in music and audio.

This year's event will take place at the Hilton Anaheim Pacific Ballroom next Saturday, January 25, and will be hosted by former Michael Jackson guitarist Jennifer Batten, and the ever-popular violinist, Lindsey Stirling.

The lineup of honorees and performers includes blues guitar extraordinaire Samantha Fish, songwriter AIJIA, Grammy-winning singer/songwriter Paula Cole, Alecia “Mixi” Demner, the lead vocalist and founder of the hard rock band Stitched Up Heart, many times platinum singer Christina Perri, the always versatile Amanda Palmer, and Stirling herself.

Also on the list of honorees are a number of influential executives and music industry figures, including Gibson CMO Beth Heidt, Chris Schyvinck, the Chairman, President, and CEO of Shure Inc., and Theresa Hoffman, the Director of Custom Shop Sales at Martin.

Also on the list are Music Forward Foundation Executive Director Nurit Siegel Smith, LaTrice Burnette, the current EVP of Music and Head of Label at UnitedMasters, and Katie Daryl, a well-respected music journalist and former Vice President of Programming at AXS TV.

Shantaia, a Nashville-based artist who won the 2023 SCMA Female Artist of the Year award, and has racked up millions of streams for songs such as Had a Good Weekend and Broke to Brand New, will open the festivities.

“The She Rocks Awards has firmly established itself as one of the premier events during the NAMM Show, bringing together industry professionals, artists, fans, and media to celebrate the achievements of women in music,” writes the Women’s International Music Network (WiMN), the organization behind the event.

“The evening will feature live music, celebrity appearances, speeches, a silent auction, and dinner for attendees.”

For tickets and more info, visit the She Rocks Awards website.

NAMM 2025 is only days away – and, at the time of writing, it’s still going ahead in face of the ongoing LA wildfires – which means brands, gear nerds and industry folk alike are readying themselves for another installment of the world’s most prestigious instrument trade show.

This year’s NAMM is set to be a particularly notable edition, though, because it will see the return of several big companies – Gibson, Marshall and Fender included – who were absent from previous events.

However, punters expecting to see Fender exhibiting flashy new electric guitars and acoustic guitars on the show floor as it had in the past are set to be in for a rude awakening when the Anaheim Convention Center opens its doors next week.

In a new interview with Zak Kuhn, Fender CEO Andy Mooney shared some additional details surrounding the firm’s highly anticipated return to NAMM – and it looks like showgoers will be left missing out.

“I think we really missed the personal interaction with the dealer base. That, I think, is the single biggest thing,” Mooney replies when asked about Fender’s return. “Even though we’re going back, what I felt had happened at NAMM – which is what had happened in my two previous lives at Nike and Disney – is that trade shows take on a life of their own.

“It becomes Booth Wars – ‘My booth has to be bigger than your booth’ – and you end up spending tons of money for a very short period of time. We were kind of thinking, ‘Is this the right way to go forward?’

“For Covid, we were compelled to do something differently and what we found during Covid when we did the online events, we were able to do them at much less cost but reach deeper into the organization.”

However, taking everything online meant that Fender eventually began to miss the in-person, face-to-face exchanges that NAMM helped facilitate, meaning a return was inevitable. That return, though, came with heavily shifted priorities and a new outlook on the show itself.

Mooney goes on, “We missed that personal interaction, so we’re going back but we’re going back for one purpose only, which is really to spend time with the dealer base and converse with them to listen what’s on their mind, and for us to communicate to them where we would like to take the industry and take the brand.”

As such, don’t go hunting for a Fender booth at NAMM this year: you won't find one.

That Fender will be changing its approach to NAMM, even though it is technically a participating party in this year’s show, doesn’t come as much of a surprise. After all, Mooney has gone on record in the past to discuss his frustrations.

“In our case, it costs to set up the booth, have everybody there – that’s a substantial bill,” Mooney once told Guitar World. “What happens during NAMM which always used to make me pull my hair out is, we’d only get to spend an hour with major retailers.

“We weren’t reaching deep into the organization, and you couldn’t really romance the products or anything.”

Head over to our dedicated NAMM 2025 news and rumors hub to keep up to date in the lead-up to this year’s show.

NAMM 2025: NAMM CEO John Mlynczak has provided an update on the highly anticipated annual event, scheduled to take place from January 21 to 25 at the Anaheim Convention Center, amid wildfires raging across Los Angeles for a fourth consecutive day.

According to Mlynczak, the NAMM team is “closely monitoring the wildfires in Los Angeles and their devastating impact on local communities.” He also mentions how, during the past few days, the team's efforts have been focused on confirming the safety of members and partners in the metropolitan L.A. area.

“Anaheim is located 60 miles southeast of the wildfires and is currently unaffected,” he writes. “We are actively working with our partners in Anaheim and the local authorities to ensure we have accurate, up-to-date information. Both Los Angeles International (LAX) and Orange County (John Wayne) airports have remained fully operational.”

He confirms that, “based on the latest information,” the 2025 NAMM show will go ahead as planned – with a few changes.

“We have pushed back the badge allotment deadline to Friday, January 10th for all member companies, and of course will offer any additional accommodations needed for our members and attendees in LA who are affected.”

Mlynczak also assures attendees that the team is monitoring the situation daily and that any further updates will be communicated in the lead-up to the 2025 show.

Yesterday, Joe Bonamassa, an L.A. resident, shared that one of his Nerdville museums, which houses one of the world’s largest collections of vintage guitars, was under threat from the wildfires. In a video statement, he later confirmed that it had been unaffected by the fires and thanked the Los Angeles Fire Department for their efforts.

The Los Angeles wildfires have so far claimed the lives of at least 10 people, displacing at least 180,000 residents across the county, putting an additional 200,000 under evacuation warnings, and burning down hundreds of buildings.

For further updates on The NAMM show, visit the official website. For safety details and current emergency incidents, head to Cal Fire.

Behringer has announced it will be returning to NAMM next year for the first time in a decade – and has taken the opportunity to publish a pointed statement that takes aim at its critics.

The German effects and synth firm has had an active end to 2024. In keeping with its reputation for producing absurdly affordable replicas of popular gear, it recently made headlines with the Fuzz Bender, a $65 copy of the original Tone Bender, and the Centaur Overdrive, a $69 take on the famed Klon Centaur.

Now, it has continued that momentum by announcing it will be taking part in the NAMM 2025 show – marking the brand’s return to the historic gear trade show after a 10 year hiatus.

However, the celebratory sentiment has been somewhat dialed back by Behringer, which has also posted a statement that takes aim at its critics, fighting back against accusations it is a “vaporware company” and doubling down on its “innovative” mindset.

Vaporware is defined as “software or hardware that has been advertised but is not yet available to buy”, and is a tag that’s been leveled against Behringer in the past, owing to the firm’s propensity for sharing images of products long before said products actually hit the market.

For example, in 2022, Behringer shared a picture of its Chorus Ensemble – a clone of John Frusciante’s favorite chorus pedal, which, at the time of writing, still has not been officially released.

In its latest statement, Behringer took aim at those who have thrown the ‘vaporware’ tag at the company by shedding a light on its current crop of releases… and promising the release of up to eight more products before the end of the year.

“Do you remember the comments some people made not so long ago? They said, ‘Behringer only makes vaporware,’” the firm states. “Well, time has certainly proven otherwise.

“Today, Behringer stands as one of the most prolific manufacturers in the industry. No other company delivers as many innovative and affordable products as we do. This year alone, we’ve brought numerous exciting instruments to market, and the best is yet to come. We’re on track to launch another 6 to 8 groundbreaking products before the end of year.

“Behringer – the ‘vaporware company’? Maybe. But only if vaporware means delivering more music-making tools than anyone else. Stay tuned. The journey has begun.”

Behringer’s “journey” will continue apace at NAMM next year, where the firm also promises it will showcase some currently unannounced "groundbreaking new products”.

And, in order to get a head start on that 2025 ethos, Behringer has unveiled the 69 Vibe – another clone, this time of the original Shin-Ei Uni-Vibe from Japan, which was beloved by the likes of Jimi Hendrix, Pearl Jam and Pink Floyd.

As is the case with most Behringer launches, the 69 Vibe is both a tonal and aesthetic replica of the source material, with two footswitches for Chorus/Vibrato and Effect, and parameters for Volume, Intensity and Speed.

It remains to be seen what other products Behringer has in the pipeline for the rest of 2024, but owing to its recent run of vintage stompbox revivals, some similar designs may well pop up in the ensuing weeks.

The 69 Vibe is available to preorder from Sweetwater for $62.

To find out more, head over to Behringer.

Marshall has announced it will be returning to NAMM for the first time in five years when the historic guitar gear trade show takes place early next year.

In an early press release sent to Guitar World, the legendary British amp firm teased it would take the opportunity to celebrate “the best that Marshall has to offer”, reaffirm its commitment to amp building, and showcase several new products.

“Marshall amps have earned a special place in music history, and we’re excited about connecting with our fans and customers at this globally important event,” Marshall CEO Jeremy de Maillard says.

“We have some great plans for showcasing the best that Marshall has to offer in hand-built amps while introducing several new products to the Marshall portfolio.”

As per the release, Marshall will be unveiling and demoing a number of new currently-unnamed products, and will host Q&As, artist signings and, naturally, open the floor for guitarists to test out its gear.

Marshall also plans to run an invite-only ‘Tone Sanctuary’, which will allow artists to experience new products that will be launched later in 2025 and beyond

“It’s wonderful to see us returning to NAMM to showcase our dedication to the amps business and for preserving the Marshall legacy for the next generation of musicians,” says Terry Marshall, Jim’s son and board member of Marshall Group.

The prospect of new Marshall products is certainly intriguing, owing to the fact the firm hasn’t really released much by way of amp gear over the past few years.

Sure, it launched the JTM45 in July 2023 – its first release since Marshall was acquired by Swedish speaker company and Marshall Headphones owner Zound in March 2023 – but before that, the Marshall name had largely been associated with headphones and home audio products.

Speaking to Guitar World earlier this year, though, de Maillard reaffirmed Marshall’s commitment to its guitar-playing contingent, and hinted at a number of genuinely blockbuster releases that were in the works.

When asked if the future of Marshall featured better digital amps, better software and modeling solutions, de Maillard responded: “I don't want to give away too much. But I would say all of the above that you just mentioned is in the plans! Literally, everything you just talked about. So we want to do all of this.

“We don't have all of the products that the guitarist today expects of us, when it comes to digital amplifiers, or digital products, in general,” he continued. “And here we are over-investing as well, to be fair, to catch up. We've been behind and now we want to catch up.”

Could we see the first examples of such developments be unveiled in just a few months time? There’s no telling, but with de Maillard’s clear enthusiasm for reasserting Marshall’s presence in the amp market, Marshall’s return to NAMM is certainly an exciting development.

“We know how important our amps are to the Marshall brand,” de Maillard says in Marshall’s latest release. "We see ourselves as custodians of a unique slice of music heritage and we are determined to protect it for the next 60 years.

“This is why we want to show up at NAMM – to support the community of guitarists and musicians and do it in a typically loud Marshall way.”

NAMM 2025 – which will take place between January 21 – 25, 2025 – is shaping up to be a blockbuster edition of the world’s biggest gear trade show. Earlier this year, Fender announced it too would be returning to the Anaheim Convention Center for the first time in five years.

Visit NAMM to find out more about the 2025 lineup.

Ozzy Osbourne was honored with a star-studded second induction into the Rock and Roll Hall of Fame over the weekend, this time for his work as a solo artist.

Ever humble, the singer took the opportunity to pay tribute to his former guitarist, admitting, “If I hadn't met Randy Rhoads, I wouldn't be sat here right now,” during a brief but heartfelt speech.

The Prince of Darkness’ contributions to the festivities were few and far between, with the singer remaining on his bat-adorned throne for much of the evening, having recently retired from touring due to his deteriorating health.

So it was up to a few familiar faces from across Ozzy's storied career to provide the sparkle and entertainment, with Jack Black delivering a passionate speech before a revolving all-star band took to the stage for a handful of knockout performances.

Guest instrumentalists for the ceremony included Wolfgang Van Halen, Zakk Wylde, Billy Idol guitarist Steve Stevens, and Metallica and former Ozzy bass player, Robert Trujillo.

Red Hot Chili Peppers’ drummer Chad Smith was behind the kit, while Adam Wakeman and producer Andrew Watt were also called into action.

Vocal duties for the evening were delivered by Tool’s Maynard James Keenan, who gave Crazy Train a signature twist. Country Star Jelly Roll sang Mama I’m Coming Home, while Billy Idol crooned his way through a suitably dark No More Tears.

But it was Wolfgang’s contributions that were perhaps the most poignant. The Eddie Van Halen versus Randy Rhoads rivalry is one of the most debated in shred history, with the pair both at the peak of their powers in the early '80s.

As such, watching Wolfgang weave and tap his way through the Crazy Train solo on his EVH signature was a notable footnote to the festivities. It also nicely set the Van Halen/Rhoads rivalry aside and emphasized the legacy that both guitarists have created, and the influence they've since had on the world that adores them.

In truth, both virtuosos were guilty of fanning the flames that licked their rivalry. Eddie once said “everything he [Randy] did he learned from me,” while Ozzy claimed that “Randy didn't have a nice thing to say about Eddie”.

Fender has announced it will officially return to NAMM next year.

The January 2025 edition of the world's biggest gear trade show will mark the first time Fender has taken part in the event’s festivities since the 2020, which took place just before the pandemic.

After that show, Fender seemingly called it quits on its NAMM tenure, and as recently as 2023 the firm’s CEO Andy Mooney told Guitar World that a return to the show looked highly unlikely.

However, in a rather spectacular (and very welcome) U-turn, Fender has now recommitted itself to NAMM, and will once again grace the corridors of the Anaheim Convention Center when the show takes place next January.

In an announcement video, Mooney sat alongside NAMM CEO John Mlynczak to discuss the circumstances surrounding Fender’s return.

He explains, “When NAMM closed during Covid and we were compelled to come up with a plan B, we developed this online dealer event and reallocated the money we would have spent going to the show into increased marketing.

“That has worked for us. We want to continue doing those, but we sadly missed actually having a physical presence at NAMM; that high-touch in-person longform interaction is vitally important for the industry,” he continues. “We were just looking for the right time to come back.

“Going forward, [Fender] will have more and exciting new products to intro at NAMM and then in the fall, we will revert back to our online dealer events. We’re thrilled to be back, we missed being there, and I’m excited to see everyone again back in Anaheim.”

Previously, Mooney had cited the cost associated with attending NAMM, as well as the ability to network remotely, as the two overwhelming factors that influenced Fender to initially pull out of the show.

Mooney also drew comparisons to the cancellation of the popular E3 gaming show, which was pulled after Sony, Microsoft and Nintendo all opted against attending.

“What happened was, out of necessity during Covid, people experimented with other approaches and have found that they are actually not only better for the brands but better for the industry,” he said at the time.

“In our case, it costs to set up the booth, have everybody there – that’s a substantial bill. What happens during NAMM which always used to make me pull my hair out is, we’d only get to spend an hour with major retailers.”

As such, there was a time when Fender's return to NAMM looked highly unlikely.

Fender wasn’t alone, either, and after the Covid pandemic a large number of other high-profile brands all pulled out of NAMM, including Gibson, PRS and Boss, to name a few.

Fender’s name remained one of the biggest to be missing from shows over the past few years, though, so its return – further encouraged by Mlynczak’s vision for NAMM's future – comes as a very welcome surprise.

Not only does this speak to the faith that industry shot-callers have in the NAMM format – which some commentators believed may not last for much longer – but also of the possibility that other absent brands could follow suit.

If other companies follow Fender’s example, then we could be looking at a fully stocked NAMM lineup in the not-too-distant future. If someone told you that a few years ago, you might not have believed them.

It’s worth noting that Fender’s return also comes off the back of a highly triumphant NAMM 2024 show, which put the spotlight on innovative gear and boundary-breaking players. Throw Fender into that melting pot, and NAMM 2025 could be a very special show indeed.

Visit Fender for future updates.

Jazz guitar giant George Benson has announced Breezin’ with the Stars – a four-day 'stay and play’ event, featuring a stellar line-up of guitar and bass playing talent.

Alongside Benson, there will also be performances and workshops from the likes of Steve Lukather, Esperanza Spalding, Lee Ritenour, Tommy Emmanuel, Stanley Jordan, Andy Timmons, John Scofield and Cory Wong.

The event will kick-off on Friday January 3, 2025 at the Wigwam Resort in Phoenix, AZ and the schedule is split across daytime and evening sessions.

The days are set to be occupied by a line-up of workshops, master classes, signings and storytelling sessions – all hosted and moderated by YouTube guitar sage Rick Beato.

(Maybe Benson enjoyed Beato's spirited defense of him, following the jazz icon’s exclusion from Rolling Stone’s 250 greatest guitarists list - Ed).

Meanwhile, the evenings will feature performances from the artists, overseen by music director Greg Phillinganes – the acclaimed session musician whose credits include Eric Clapton, David Gilmour and Toto.

The event – billed as an “unforgettable experience” – will also offer several jam rooms, each of which will be equipped with gear (Ibanez is sponsoring Breezin’ with the Stars) and available for guest use.

For those times when guests are not chatting or frantically woodshedding, there is the rest of the Wigwam Resort, which reportedly offers 440 acres of gardens, three golf courses, three pools, a spa, tennis courts and so on. But we doubt people will have any time for that..

Tickets for the event will include access to all four days and nights of workshops and shows, “guidance and mentorship from George Benson and his all-star faculty”, plus accommodation and meals at the Wigwam Resort.

Packages start at $2,799 for a shared accommodation option (there is a $2,299 ‘commuter’ package for those who do not require lodging) and run to $6,699 for a couple’s suite.

To register, head to Breezin’ with the Stars.

The Killers guitarist Dave Keuning and Green Day bass guitar player Mike Dirnt will feature at the upcoming Rock 'n’ Roll Fantasy Camp in LA this October. 

The camp will give attendees the opportunity to be mentored by rock 'n' roll royalty and form bands with their peers, with Jane’s Addiction drummer, Stephen Perkins, also set to feature. 

Taking place October 17-20, guests will get to jam with the A-list tutors. The four-day event will be capped off with bands performing live at the Sunset Strip’s Whisky A Go-Go and Viper Room venues. 

The experience will include band rehearsals, jam sessions, masterclasses with rockstar counselors, Q&A sessions, and live experiences, with every facet of band life set to be explored – save for launching TVs out of hotel windows. 

Enlisted counselors include guitarist Monte Pittman, who taught Madonna how to shred Pantera, and Rafa Moreira, who has played with Paul Stanley. 

There are also a number of other mentors confirmed, including Mike Kroeger (Nickelback), Johnny Martin (L.A. Guns), and Tommy Black (Scott Weiland), as well as Devo and A Perfect Circle drummer, Jeff Friedl. 

There are no restrictions on age or ability, and vocalists are welcome too. Interested persons will have a call with the camp’s musical director ahead of the event to “ensure you’re placed in the perfect band,” meaning musicians will be paired with others of similar ability and taste. 

“Rock 'N' Roll Fantasy Camp is an inclusive environment where the passion for music takes center stage,” says an official statement. “Leave with memories to last a lifetime, friendships forged in the fires of rock 'n' roll, and skills to elevate your musical journey.” 

Previous iterations of the camp have featured, Jerry Cantrell, Kim Thayil, and the DeLeo brothers. For a taste of what the camp is like, check out the Amazon movie. 

Head to Rockcamp for more information.

Last weekend at Coachella, Indo-Canadian artist AP Dhillon participated in the long-standing tradition of guitar smashing. However, the reactions to him smashing his metallic gold ESP LTD Kirk Hammett V were mixed, to say the least. While some praised Dhillon for the move, others were viscerally angry about what many called a lack of respect for the instrument.

"Pop artists break guitars to look cool. They try to imitate rock/metal artists, not realising that they break their guitars out of the adrenaline rush and intensity of playing the instrument. It always hurts to see the poor instrument face the wrath of these wannabes," said one commentator. Another added: "Respect the things which brought you to this stage."

This is far from the first time artists have faced backlash for smashing a guitar in recent years. So is guitar smashing no longer cool?

Historically, instrument smashing was not only novel and shocking but also a sign of being anti-establishment. For instance, in 1966, a group of artists met in London to participate in the Destruction in Art Symposium (DIAS). 

This included Raphael Montañez Ortiz's piano destruction concerts. The overarching theme of DIAS was “to focus attention on the element of destruction in Happenings and other art forms, and to relate this destruction in society.”

At the 1962 Festival of Misfits, British painter Robin Page performed a performance art piece aptly called "Guitar Piece," which saw him throw his guitar off the stage at London's ICA and kick it down pavements until it was just a bunch of small pieces. Pete Townshend was inspired by this performance art piece and started incorporating guitar smashing into his performances – even if it meant he had to glue them back together in between shows.

From then on, guitar smashing became a staple of rock performances. Jimi Hendrix famously set fire to his guitar at London's Finsbury Park Astoria, an act he repeated at the Monterey Pop Festival.

Kurt Cobain was known for smashing guitars – an act immortalized in many iconic gig photos. Matt Bellamy of Muse holds the Guinness World Record for most guitars smashed on tour at 140.

Yet fast-forward to 2021, and Phoebe Bridgers was attacked for smashing her guitar on stage during an SNL performance. Contemporary artists who fall outside the rock and metal realm seem to get the most hate for smashing guitars, indicating a greater gatekeeping issue.

Some artists are even now publicly regretting what they've done in the past. Just a few days ago, Flea, known for smashing a bass or two, shared: “Feel like such an idiot for smashing my bass to pieces on stage back in the day, pathetic.”

But how do instrument manufacturers feel about the practice? In a 2021 interview with ABC, Fender's EVP of Product, Justin Norvell, said: “The guitar is what I call a sonic paintbrush. It's something for an artist to use, to create with.

“So while people look at a guitar being smashed and [say], 'That could go to someone else,' or whatever, in that moment and what [an artist is] doing and how they're feeling, if [smashing a guitar] encapsulates part of that [performance]...”

In the current climate, many people simply see guitar smashing as a privilege granted only to those musicians who've reached the top or have the financial means to afford to buy a guitar to smash in the first place.

However, in an age where so little shocks us anymore, the fact that guitar smashing is still so wildly controversial says a lot about this action's staying power and its ability to provoke a very primal human reaction.

Perhaps this is what these contemporary artists want to remind us of – and judging by online discourse, they are certainly succeeding.

The 66th Annual Grammy Awards ceremony took place this weekend, and it turned out to be yet another triumphant evening for guitar-based acts – both in terms of those who ended up taking home the prizes and those who entertained attendees with show-stopping performances.

As expected, the evening was dominated by chart-topping pop superstars – including Taylor Swift, Miley Cyrus, Billie Eilish and SZA – but the headlines this week will also be shared by the likes of boygenius, Paramore, Metallica, Joni Mitchell and Larkin Poe, who all won big during the ceremony.

Though boygenius lost out on Album and Record of the Year to Swift and Cyrus, respectively, the alt rock supergroup (comprising Phoebe Bridgers, Julien Baker and Lucy Dacus) ended up taking home the awards for Best Rock Performance (Not Strong Enough), Best Rock Song (Not Strong Enough) and Best Alternative Music Album (The Record).

boygenius, who recently released their joint Gretsch signature guitar, successfully fended off competition from the likes of Arctic Monkeys, Foo Fighters, Metallica, The Rolling Stones, Queens of the Stone Age and Black Pumas on their way to their trio of trophies.

“We were all delusional enough as kids to think this might happen to us,” Dacus said while accepting Best Rock Performance for Not Strong Enough (via BBC). 

“Phoebe [Bridgers] would sing at the Guitar Center, hoping that she would get discovered. Julien [Baker] wanted to play sold out stadiums. 

“And I would practice writing an acceptance speech, and thank all the people who'd been nice to me - like my bus driver and the guy that held the door at church. So I feel kind of like a kid, because that was the last time that something like this felt possible.”

Their fellow alt rock peers Paramore also ended up having a successful night, pipping Foo Fighters, Greta Van Fleet, Metallica and Queens of the Stone Age to win the prestigious Best Rock Album award with This Is Why.

The Hayley Williams-fronted outfit also took home the award for Best Alternative Music Performance with This Is Why, edging out Alvvays, Arctic Monkeys, Lana Del Ray and Boygenius in the process.

Elsewhere, Metallica went home with Best Metal Performance thanks to 72 Seasons, and Juanes – the newly anointed Fender signature artist – won Best Latin Rock or Alternative Album with Vida Cotidiana.

In the country, folk, blues and americana departments, Joni Mitchell, Chris Stapleton, Jason Isbell, Larkin Poe and Molly Tuttle all ended up taking trophies home. Mitchell’s award proved to be especially significant, with the folk icon scooping Best Folk Album for her comeback Joni Mitchell at Newport (Live) effort.

Isbell, meanwhile, took home both Best Americana Album and Best American Roots Song with Weathervanes and Cast Iron Skillet, respectively, while Larkin Poe’s Bloody Harmony was awarded with Best Contemporary Blues Album ahead of Christone Kingfish Ingram, and Samantha Fish and Jesse Dayton.

Tuttle, meanwhile, scored her second consecutive Best Bluegrass Album with City of Gold.

And, as everyone expected, a Barbie track – not the one that featured both Slash and Wolfgang Van Halen – was also recognized with a trophy: Billie Eilish’s What Was I Made For? won Best Song Written for Visual Media and Song of the Year.

As mentioned above, the evening’s itinerary was also filled with a handful of notable performances, not least from super-producer Andrew Watt, who wielded a Prince guitar to perform alongside Lenny Kravitz, Chad Smith and George Clinton – a group he dubbed “The new Van Halen”.

For a full list of winners, head over to the Grammys website.

NAMM 2024: That's a wrap folks! The NAMM show is truly over. The electric guitar deluge has slowed to a trickle, the influencers have posted their airport montages – and the mighty doors of Anaheim Convention Center have slammed shut for another year (or, at least, stopped admitting anyone waving a NAMM pass...) 

What's left is a haze of a virtuosic guitar displays, bright lights, bruised hands and a lingering feeling that we have to be somewhere else soon. 

Did we really see Matteo Mancuso jamming with Cory Wong? Gaze at the northern lights (guitar) with John Petrucci? Hold Jack White’s insane touring Telecaster? Glimpse into the very future of music-making and guitar design?

Checking back across the site, it turns out we did all of those things – and more. 

This year’s show proved the event – and the wider guitar industry – is in rude health, amid a new boom of innovative gear, boundary-breaking players, and, dare we say it, a little more room for fun than we’ve been used to across the past few events.

Now that we’ve had a bit of time to pick up the pieces and organize our thoughts, we've put together a list of some of the trends, coincidences, and honorable mentions drawn from across the team.

From a new wave of star-studded semi-hollow signature guitars, to the AI invasion, increasingly fancy foreign builds – and a guitar string vending machine. Here are some of the highlights of the show and the trends you'll see shaping guitar over the course of the next year.

1. DIY pedals weren’t just a phase – they’re very much here to stay

When JHS Pedals unveiled its $99 Notaklön – a DIY Klon clone pedal kit – late last year, it sent a shockwave through the guitar community. Every prominent player got their hands on one, and social media was flooded with clips of guitarists documenting the fool-proof assembly process. Heck, we even gave it a go, and thought it was brilliant.

At the time, it was unclear whether the hype surrounding DIY stompboxes was just a passing phase. Signs pointing to the contrary emerged when Catalinbread announced the Knight School Overdrive, but now it seems as though the trend is well and truly here to stay.

Indeed, one of the biggest announcements of this year’s show was Third Man Hardware’s Fuzz-a-Tron, a build-it-yourself fuzz pedal masterminded by Jack White’s gear brand. It is the cheapest mainstream DIY pedal to date, with a price of just $75, and one that potentially points to a new, relatively untouched avenue for gear brands to explore.

If companies can cater to beginner and pro players alike with an engaging, interactive pedal that both sounds good and gives its owner the chance to play pedal maker, it seems like a no-brainer. After all, the demand is clearly there...

2. Gear furniture will take off in a big way this year

The vast majority of guitarists are not pros with a lock-up for their guitar archive, but home players with limited space. In 2024, manufacturers are clearly thinking more about how guitar gear can earn its footprint in our lives and, more importantly, our lounges.

The sort of stuff that was once the preserve of custom makers on Etsy is being incorporated into the industry’s own offerings. As such, Fender has launched a range of surprisingly attractive wooden guitar and amp stands that are designed to make a feature of the gear they display. 

Then there’s On-Stage’s GWS5000 Guitar Workstation (read: fancy shelves), which attempts to hold everything together – with spaces for your amp, guitar, cables, a slide-out pedalboard, plus a shelf for picks and accessories. 

Meanwhile, Taylor’s Circa ’74 is possibly the most beautiful amp of the last decade and uses a mid-century modern mahogany cabinet design, with an included mahogany stand. We don’t know for sure what it sounds like yet (having been unable to try one at NAMM), but it certainly looks like a work of art.

Even Eminent Technology’s innovative flat panel amp/cabinets share a similar principle in considering an aesthetically pleasing and space-saving alternative to the traditional black box. 

Indeed, not to get too House Beautiful about it, but we’re now at a point where you might legitimately design a living room around your gear, instead of hiding it under the side tables. 

3. The age of artificially intelligent guitar gear is officially upon us

Artificial intelligence has loomed over the music industry as a whole for a while now – see the final Beatles song, for instance – but in the gear world, its presence has been fairly unassuming. Yes, it’s been used to make plugins and, yes, it helped design the Revv Chatbreaker Overdrive (sort of), but its overall impact has been rather peripheral.

Well, at NAMM, we saw the arrival of not one, but two effects pedals that used AI in a far more direct capacity. The Mooer GE1000 Li, for example, recruited an AI-driven EQ section that adjusts a five-band EQ depending on a selected music style, while the KMA Machines Endgame offers a double-track effect created with the help of, you guessed it, artificial intelligence.

With Positive Grid also flirting with the idea of “Sonic Intelligence” with its Spark Live, the presence of artificially intelligent products in the gear world can no longer be ignored, and it seems as though we’ve crossed a threshold whereby these appointments will become more and more common.

And that’s just on the pedal front: at this year’s show, we were also introduced to OD Guitars – a brand that turns AI-generated guitar designs into physical products. It was bound to happen at some point, but it looks like AI gear is officially here.

4. Signature artists are playing away from home

Excuse the salacious nature of the headline, but this NAMM has made us realize just how much looser firms are these days when it comes to the exclusivity of their deals with signature artists. 

Much like the artists who used to be tied to record contracts found the knowledge and freedom to control their own destinies in recent decades, it seems that the wave of self-starting players pioneering their own gear firms (e.g. Zakk Wylde, Tosin Abasi, Ola Englund etc) has led to a more open dynamic in the wider guitar industry.

As such, Alex Lifeson still endorses Gibson/Epiphone, but has been able to launch his own LERXST collaborations with multiple makers, producing amps with MojoTone and the new-for-NAMM LERXST Limelight guitars with Godin.

Likewise, Jack White continues to use his Third Man Hardware label as a banner under which to collaborate with all manner of manufacturers, most recently with Donner on the Triple Threat.

There are many other examples from recent history, but ultimately, some firms are realizing that for the right players, it’s better to have a star’s name on the headstock of the guitar that counts, rather than get heavy-handed about their exclusivity to the brand.

5. ...And signature products are getting smaller. Much, much smaller

While NAMM 2024 saw the unveiling of traditional signature guitars in the form of Rabea Massaad’s Ernie Ball Music Man Artist Series Sabre and Bill Kelliher’s hotly anticipated LTD Royal Shiva, it also saw the arrival of a new wave of much smaller signature products.

For instance, Kirk Hammett – who has released both signature Gibsons and ESPs over the past 12 months – was bestowed with a range of signature guitar picks. He wasn’t the only one: Dunlop issued signature plectrums for Mick Thomson, Andy James, and Jeff Loomis.

There were straps, too, with Dunlop tapping Authentic Hendrix to reproduce the guitar pioneer’s Monterey Pop strap. Steve Vai, likewise, didn’t have a new Ibanez PIA to show off, but he did have a new signature strap to his name, the Botanical.

With that in mind, the discernible lack of signature guitars on display this year was also telling. Ibanez, usually so reliable with their army of signature models at each NAMM show, was uncharacteristically quiet. 

Nonetheless, the proliferation of more affordable signature products is likely related to the rising cost of guitars and the desire to give people options at a time when they can’t afford to buy new gear so frequently. 

Obviously, no one’s going to the store for a six-string and coming back with a pick, but the trend speaks to some of the other gear releases we saw throughout the show, with companies directing their attention to more affordable accessories this year – see Ernie Ball’s Comfort Cloud strap, for example.

In this case, fans can show their support and get the gear their heroes are endorsing at a wallet-friendly price. Signature guitars aren’t going anywhere, but there’s definitely room for more accessible signature products.

6. The big firms are not quite as ‘out-of-NAMM’ as they insist

With the collapse of comparable events like E3, rumors of dwindling footfall and the likes of Gibson, PRS, and Fender conspicuously absent from NAMM – you’d be forgiven for thinking the event’s future was looking tenuous.

However, the 2024 show felt like the first ‘true NAMM’ since covid. It was noticeably buzzier, there was a huge amount of new gear announced and even those that are not officially taking part seem to be operating in its orbit. 

Gibson hosted its own surprise pre-NAMM event at its LA showroom – capitalizing on the media influx to the show, Fender’s brands dropped a heap of announcements in the lead up to the show (including these tasty new Squier Classic Vibes) and even PRS unveiled its innovative ‘Wing Button’ tuners and new Silver Sky finishes with somewhat coincidental timing. 

We also witnessed a lot of instances of firms management/representatives attending NAMM and taking meetings behind the scenes – even if they weren’t ‘officially’ running a booth. For instance, Dean gave us a sneak preview of its 2024 line.

We’re not saying you’ll see the likes of Fender and Gibson back at next year’s event (or ever, for that matter), but we suspect their curiosity has been piqued.

Perhaps, more importantly, those that remained at NAMM have started to stretch their wings and fill the vacuum left by the biggest hitters. Ernie Ball Music Man’s booth was a daily must-see, for instance.

7. The next wave of popular signature guitars are all semi-hollows

Now, we know we said signature products are getting smaller, but we also stressed that signature guitars aren’t going anywhere, and the high-profile artist-endorsed instruments unveiled around NAMM this year all have the same thing in common: they’re semi-hollow.

As mentioned, Gibson, though absent from the show, took the opportunity to give Guitar World a preview of the long-awaited Epiphone DG-335 Dave Grohl model. 

Not long after, EVH was officially unveiling Wolfgang Van Halen’s SA-126, and Gretsch was surprise-announcing the ultra-alluring and surprisingly affordable boygenius Broadkaster Jr.

It’s a trend whose roots can be traced back further. Emily Wolfe’s semi-hollow Stealth Epiphone, for example, arrived last year and won a lot of fans. 

There are many solidbody signatures on the market, and semi-hollows pose an attractive alternative to fans who are looking to add something different to their collection. 

What’s more, modern amp, pickup and monitoring tech has enabled players to tame the once unwieldy feedback issues that might have put off players of a heavier predilection.

Perhaps it’s just a coincidence, but with the SA-126’s inevitable expansion and the furor surrounding the DG-335, it seems like the semi-hollow is entering a new era of rock and indie patronage.

8. The premium offshore build is here to stay

The concept of a good quality foreign-made instrument is not new. Players have been singing the praises of Japanese builds since the ’80s and back in 2022, Fender’s Mexican facility, Ensenada celebrated its 35th anniversary. However, over the last year or two we’ve seen a conscious shift in the marketing and pricing of these instruments. 

Epiphone is perhaps the obvious example – with it’s stunning Chinese-made Inspired by Gibson Custom Shop models crossing right into the price streams of Gibson’s cheaper US builds. We expect the Epiphone DG-335 Dave Grohl signature mentioned above to be priced similarly.

Meanwhile, Yamaha’s new Pacifica Professional – beautifully constructed by its top Japanese luthiers with a street price of $2,200 – has us questioning everything we thought we knew about the perennial beginners’ model.

Why is it happening? Well, it’s partly because production standards have improved hugely – we can no longer expect just a decent beginners guitar from these locales, but absolutely tour-worthy models, too. 

The other side of it, though, is that prices have gone up faster than incomes and manufacturers’ US offerings are feeling increasingly unaffordable to a large slice of the market. 

As such, guitar-makers have needed something to plug the widening gap between the foreign-made beginner instruments and the traditional US builds. The answer? Premium offshore.

9. A lot of the coolest stuff wasn’t even a product

Since NAMM returned for its first post-Covid event, the average spectator’s perspective of the trade show has seemingly been one of resigned defeat. This year, though, created cause for hope: NAMM 2024 was an utter spectacle. 

In fact, the coolest aspects of the show weren’t the flashy new pieces of gear on display, but all the casual extras that went along with them.

“It was great to see a decent turnout on the artist front, too, with Ernie Ball in particular bringing the star power,” said GW EIC Mike Astley-Brown. “I also think it was Very Cool that there was so much note-worthy stuff that wasn't actually a product at all. 

“The Ernie Ball vending machine, Jack White Tele and smashed Hateful Eight acoustic, par example. The OD Guitars AI thing. CHIBSON. All this stuff makes NAMM awesome besides the new gear.”

If the outlook on NAMM before the show was one of pessimism, it now surely must be one of optimism. Gear aside, people go to the show for precisely the sorts of wild and wonderful spectacles that were on display this year and it was good to see all involved seize the moment, in that regard.

10. The natural burst is popping off 

As previously mentioned, there was a lot about the Pacifica Pro that caught our eye and ear at NAMM 2024 – from the player-friendly contours to those Neve-designed pickups – but the Beach Burst model showcased a finish technique we’ve not really noticed before. 

Essentially, the natural tone of the wood is left in the center while a color fades into it. It’s not an aging effect – it uses the same technique of fading between two colors (e.g. the black to amber Sunburst) of a traditional burst effect, but instead goes from color to (almost) clear lacquer. 

It looks great on the sand/ocean-colored tones of the Pacifica’s Beach Burst, but we also saw a similar technique applied from another Japanese luthier, on Takamine’s beautiful LTD2024. 

The top-end build channels a solar system theme – complete with planet fretboard inlays – and the effect was used to cleverly fade from the dark blue periphery of the bridge and headstock into the natural glow of ‘the sun’ positioned on the 12th fret.

It’s a simple concept and we’re sure it’s been done elsewhere, but it’s popping up in a few lines – and, in the cases above, feel like yet more evidence of Japanese builders’ latest wave of influence on guitar design.

Honorable mentions

Whether hands-on, pounding the show floor, or wading through the avalanche of press releases, GW saw an incredible amount of new gear launched at this year’s show. 

Those aforementioned lightweight Eminent Model Twenty Two flat panal cab/amps are very exciting indeed, while on the opposite end of the spectrum, Bill Kelliher's super-heavy slab of metal guitar, the LTD Royal Shiva, felt reassuringly monstrous under-the-palm.

Meanwhile, yeah we mentioned it before, but Jack White's Telecaster touring guitar might be the coolest and most-heavily modded instrument we’ve had the privilege of holding.

For similar, retro cool vibes, but bottled up in a new model, well, the “cubist” Kauer Guitars Gripen was hard to beat. The Eastman D’Ambrosio range also continued that firm’s habit of somehow looking backwards and forwards, simultaneously.

Honorable mentions also have to go to the returning Dean Guitars and Fulltone pedals, both brands have not been without controversy (albeit for differing reasons) in recent years, but appear to be righting the ship with new products and, in the latter case, under license with a new management team.

Finally, we're going to give a shout-out to the show itself: the grand old-dame of music-making events is not out for the count yet, and it was great to see so much evidence of a guitar community that – despite all the challenges of recent years – is still absolutely buzzing and, frankly, never more vibrant...

NAMM 2024: This year marks the 100th anniversary of guitar speaker specialist Celestion, which has celebrated its centurion milestone in style with the release of a special edition 12" speaker.

Appropriately called the Celestion 100, it looks to channel 100 years of heritage by revisiting the company’s roots, going all the way back to the G12 speaker design that was developed in the late ‘50s and early ‘60s.

In other words, the 30-watt Celestion 100 faithfully revives the legacy and tone of Celestion's historic G12 speakers, most notably the Alnico Blue, which was the first speaker ever purpose-built for the electric guitar.

For a bit of history, in the late 1950s Les Ward – Celestion’s chief engineer until 1979 – developed a new, strengthened version of the original G12 radio speaker in response to the need for a dedicated guitar speaker in the wake of the instrument’s skyrocketing popularity.

The need for more powerful amps and a speaker that could withstand the increased heat and vibrations from a guitar signal lead to the creation of the T530 – otherwise known as the Alnico Blue.

From there, the Alnico Blue blossomed in popularity, and was soon being fitted into Vox AC15 and AC30 tube amps, both of which helped power the British Invasion of the ‘60s.

The Alnico Blue’s close sibling, the T652, likewise found favor in Marshall amps, and soon became the go-to speaker unit for some of the most iconic guitar amps in music history – think the 1962 'Bluesbreaker'.

Though Celestion already has a handful of throwback speaker models on its books, the Celestion 100 aims to be pick of the bunch, sitting “at the head” of the firm’s product table.

Not only does it take inspiration from the Blue Alnico and T652, the speaker also looks to harness the tonal nuances of some earlier models, too, including the rare B024 and CT3757.

To help it achieve this goal, the brand formulated an all-new cone design, which was crafted with reference to “perfectly preserved vintage cones”. Edge treatment, likewise, is supposedly thin and light, and has been fashioned to enhance tonal performance and resilience.

“Players and listeners can expect a blooming low end and bell-like treble coupled with a sweet, shimmering midrange presence,” Celestion says of the special release. “When driven into distortion, the Celestion 100 compresses gradually and musically, softening the notes’ attack in the tradition of great Celestion alnico speakers.

“It all adds up to tone and aesthetics that are as credibly vintage as any speaker can achieve, but with performance that is perfectly at home in a modern live performance or music production context.

“Musicians who acquire the Celestion 100 anniversary guitar speaker will have the pleasure of owning a true retro-styled, vintage classic based on the first loudspeakers created specifically for the electric guitar.’

While the unveiling of the Celestion 100 is of course a significant release itself, it doesn’t look to be the only product that the firm will drop to celebrate its 100th birthday this year. 

Indeed, Marshall teased that there is “something extra special” the two parties have been working on by way of an Instagram post that showed a ‘Celestion 100 Years’ plate on an amp grille cloth.

Remember what we said above about those vintage Marshalls that were fitted with early-years Celestion speakers? Well, could we soon see a collaborative reissue between the two brands at some point in the future?

Now Marshall is back making amps – and amps that are similarly inspired by its heritage, no less – it seems likely. Concrete details won’t arrive until Spring, though, so we’ll just have to be patient.

To find out more in the meantime, head over to Celestion.

NAMM 2024: MXR has announced its plans to revive and reboot its popular Il Torino overdrive pedal in the form of its latest no-nonsense pedalboard workhorse – the newly revised Gran Torino.

As far as drive pedals go, the Gran Torino is relatively modest in its operation, though the effects pedal specialist does stress that this humble stompbox is enough to “enrich the natural sound of your rig with the warm, organic sound of classic tube amps”.

Now, it’s not been confirmed whether this is a like-for-like recreation of the now-discontinued Il Torino, and while there is a slightly reformed control layout (and a snazzy new chassis), the under-the-hood similarities suggest the Gran Torino is indeed a revival of the beloved drive box.

At its core, the Gran Torino once again recruits MOSFET tech in an attempt to harness tube preamp gain structures, which in turn aim to deliver greater dynamic response and touch sensitivity.

The controls have been tweaked, though, if only for appearances. While the Il Torino – which was designed by guest Custom Shop engineer Carlos Sorasio in 2014 – had Treble, Mid and Bass knobs, the Gran Torino instead opts for Hi, Mid and Lo.

This time out, there are also Volume and Gain parameters, which have been drafted in to replace the Il Torino’s own Master and Gain knobs.

Of course, these can all be expected to perform identical functions, and as such the parameter name change looks to be nothing more than a rudimentary refresh. In other words, it looks like the Gran Torino will still steer players to those cherished Il Torino tones.

That much will be aided by the return of the OD/Boost switch, which accesses the pedal's two distinct modes. The first offers “smooth, mellow overdrive”, while the latter is all about cleaner notes and richer sustain.

Other appointments worth noting include the Class A low impedance output driver to preserve signal chain integrity.

Of its latest release, MXR says, “The Gran Torino Boost Overdrive amplifies and enriches the natural sound of your rig with the warm, organic sound of classic tube amps, from clean boosting with rich sustain to smooth, mellow overdrive.

“Get the MXR Gran Torino Boost Overdrive for organic boosting and goosing that you can tweak to match any rig.”

It looks to be a pretty savvy release from MXR, which is clearly catering to those who have been clamoring for the Il Torino’s return over the past few years. However, here comes the catch: the Gran Torino is also limited edition.

That means, if you’ve been waiting for its return, you’ll have to be quick off the line to avoid missing out again.

The MXR Gran Torino will be available for $150 on May 1.

Head over to Dunlop to find out more in the meantime. To catch up with all the latest gear releases, head over to our NAMM 2024 news hub and live blog.

NAMM 2024: The humble guitar strap is often taken for granted, but every budding electric guitar or acoustic guitar player worth their salt understands the importance of equipping your instrument with a decent strap.

To that end, straps have been put under a bit of a spotlight in recent times, and now Ernie Ball has sought to take the essential accessory to new heights of comfort and function with its Comfort Cloud range.

Available in only two variants – 2” or 3” thick – and arriving in a sleek black finish, the modest-looking strap may look relatively unassuming, but the accessory specialist has utilized what it’s called “unique air cell core technology” for a more comfortable feel on the shoulder.

As per Ernie Ball, the Comfort Cloud straps are fashioned from stretchy neoprene, which in turn incorporates that aforementioned air cell core tech to provide optimal cushioning. The strap itself is said to be “snug” without being “too stiff or bouncy”.

While this will no doubt benefit the average player, the brand has been keen to stress the Comfort Cloud straps – what with their optimal cushioning – would be especially good “for musicians who experience shoulder discomfort due to prolonged playing”.

In terms of the science, the strap evenly disperses the weight of your instrument across your shoulder and back, thus making it “stronger and more comfortable” to wear.

Not only is it meant to be more comfy than your average strap, the Comfort Cloud design is also said to be sweat-wicking, effectively mitigating perspiration for the most, er, ‘enthusiastic’ strummers.

Rest assured the stability and strength of the Cloud Comfort strap hasn’t been compromised in the pursuit of greater cushioning and support, with long-lasting leather ends ensuring a nice sturdy operation,

No price has been mentioned yet, but it’s been confirmed the new Cloud range additions will ship in the Spring.

As mentioned above, straps have been receiving their fair share of attention at NAMM. For example, Dunlop has once again partnered with Authentic Hendrix to release a reproduction of Hendrix's Monterey Pop strap.

Head over to Ernie Ball to find out more about the Comfort Cloud line, and visit our NAMM 2024 news guide to keep up to date with all the latest gear releases.

NAMM 2024: We know guitarists are obsessed with all things vintage – it started with vintage guitars, then amps, pedals, NOS components – and so on, so it was only a matter of time before we saw reissue guitar straps.

Now Dunlop has announced a new addition to its accessory range, in the form of the Jimi Hendrix Pop Festival strap. 

The description and title don’t explicitly use the phrase ‘Monterey Pop’, presumably for trademark reasons, but there is no doubt that it is a reproduction of the patterned strap Hendrix paired with his illustrated Monterey Pop Strat in the closing moments of his groundbreaking appearance at the festival.

“This strap bears the same design as the one Jimi Hendrix wore when he stole the show at a 1967 music festival in Monterey,” says Dunlop. 

“The very first Jimi Hendrix Experience appearance in the U.S. He made music history when he set his guitar – and the world – on fire, swinging it wildly around until smashing it on the stage floor.”

It’s actually not Dunlop’s first take on the concept – the firm previously teamed up with Authentic Hendrix for a range of five reproduction straps back in 2017, and we’ve had beautiful Fillmore, Live at Maui, Shreveport and the Woodstock-inspired Festival options before.

But, for this writer, Monterey Pop has the most cache out of all of those dates, marking his inimitable and earth-shattering arrival.

Featuring the distinctive bright woven pattern and a chunky metal buckle it certainly sings retro cool – and we want it. Yes, we know we’re falling for marketing and if you hadn’t told us it’s the one Hendrix wore at Monterey, we would not like it anywhere near as much. But… Hendrix.

In all seriousness, though, it’s the latest evidence of a trend we’re seeing spread more widely across the show this year, with an emergence of small and very affordable artist-endorsed signature products (see Dunlop’s new signature picks, for example).

Similar to the avalanche of new pickup gear we saw last NAMM (a cheaper way to change your tone than a new guitar), this feels like a response to the average guitarist having to tighten their purse strings over the last few months. 

Or, maybe, it’s just a nice strap... 

The Dunlop Authentic Hendrix Pop Festival Strap is available February 1 for an MSRP of $41.99. For more more information, head to Dunlop.

To keep up to speed with all new gear releases, visit our NAMM 2024 news guide and NAMM 2024 live blog.

NAMM 2024: Though, strictly speaking, 2023 marked the 20th anniversary of Dunlop’s partnership with Zakk Wylde, that hasn’t stopped the pair from continuing the celebrations well into 2024.

As such, the special-occasion celebratory stompbox series – which first began back in October last year with the unveiling of five revamped Wylde/MXR effects pedals – has now been bolstered with a new addition: the WA357 Rotovibe Chorus/Vibrato.

Once again, the updated offering brings back one of Wylde’s most essential pedalboard mainstays, giving his tried-and-trusted original Dunlop Rotovibe a sleek and fresh contemporary look.

It is a fairly modest cosmetic update, truth be told. It looks, for all intents and purposes, like the standard Dunlop JD4S Rotovibe, aside from the small ‘Wylde’ text that has been imprinted below the Rotovibe decal on the front-facing panel of the red-and-silver unit.

Some subtle Wylde flair, admittedly, can be found on the footswitch, whose rubber grip strip has been fashioned to feature Wylde’s trademark bullseye-style ‘logo’. In fact, it’s the same cosmetic nod that can be found on the ZW357 Rotovibe reissue that the Black Label Society axeman has remained loyal to over the past few years.

Indeed, that ZW357 has been Wylde’s go-to unit in recent times, and could even be found on his Pantera pedalboard, as was shown during Guitar World’s in-depth rig breakdown.

Unsurprisingly, it’s just the aesthetics that have been given a slight tweak. The pedal otherwise remains faithful to Wylde’s favored Rotovibe sound – why fix what ain’t broken? – meaning it delivers the same suite of chorus and vibrato tones that Wylde himself has championed.

Then there’s the price: it’s $399. To put that into perspective, the standard JD4S weighs in at $299. 

There’s no doubt that Wylde fans will be willing to pay the $100 premium, though. After all, the pedal’s predecessor was only released as part of a limited-edition run. Only one example is listed on Reverb at the moment, and that’s been given a price tag of $615.

There’s been no indication whether this new version will be standard or limited, but the demand is clearly there: “Been waiting so damn long for this!” says one commenter on Instagram. “Finally!!!” writes another.

“Joining the Wylde Audio Pedal Series, the Wylde Audio Rotovibe Chorus/Vibrato features the same rich rotating speaker effect of the classic version with all-new custom graphics,” Dunlop says. “Whether it's to spice up a solo, add some overdubbed color, or as songwriting inspiration, the Rotovibe Chorus/Vibrato has been a core component of Zakk's sound since 1988.”

The WA357 Rotovibe will be available on May 1.

For more info, visit Dunlop.

To keep up to speed with all new gear releases, visit our NAMM 2024 news guide and NAMM 2024 live blog.

NAMM 2024: John Petrucci’s Ernie Ball Music Man Majesty signature guitar has been one of the most successful instruments the firm has ever produced. The Dream Theater man is fairly humble about his accomplishments, so it doesn’t get talked-up as much as you might expect, but Petrucci’s Majesty is second only to the Gibson Les Paul in terms of signature guitar sales.

However, while Petrucci always felt he was doing the right thing in terms of his needs as a player, he says he never expected the Majesty to reach such regal heights. Indeed, he almost didn’t call it the Majesty…

“When we set out to make this guitar Sterling Ball and I had these crazy conversations,” Petrucci tells Guitar World in a new interview filmed at the 2024 NAMM show. “I had this idea to call it the Stallion!”

Petrucci was eventually talked 'round on that, which is probably for the best, but the prog-metal icon tells us the Majesty was, like most game-changing ideas, not immediately accepted.

“There’s a funny story, when it first came out, some pictures were leaked of it and some people were like, ‘Thats the ugliest thing I’ve ever seen!’” Petrucci recalls in our video interview.  

“It turns out it was the most successful instrument we ever could have imagined. Now, all the pictures I see of people playing Majestys… it’s not just for prog metal. They’re playing jazz and blues and rock and all kinds of things. 

“It’s interesting with innovation – when you do something that’s never been done before – it hits people and [the first reaction] it is like ‘What is that?’ And then [afterwards], that’s when you realize how special it is.” 

Petrucci compares the feelings he has towards the design as similar to the sense of vindication he gets from writing and playing.

“It’s like music,” says the Dream Theater man. “You make something for yourself because you’re an artist and you want to be true to yourself, but when you see other people enjoying it as much as you do, it’s even more [rewarding].”

Petrucci’s currently doing a lap of honor with the instrument – launching an array of new finish options at the 2024 NAMM Show. 

In total, there will be five new finishes in 6-, 7 and 8-string configurations, plus three maple top Majesty BFR finishes, including the northern lights-inspired option modeled by Petrucci in the clip.

The new Majesty finishes will be available this summer. For more information, head to Ernie Ball Music Man.

The NAMM 2024 releases are coming in thick and fast, but we have our fingers firmly on the pulse. Keep up to date via our guide to the latest NAMM 2024 news.

NAMM 2024: Remember Eminent Technology’s ‘flat-panel’ Model Twenty guitar cab from 2022? Well, the Florida-based audio firm has now unveiled its successor: the Model Twenty-Two, which has been marketed as a “cutting-edge design” that “ushers in an unprecedented era of sustainable audio engineering.”

In the summer of ‘22, Eminent Technology debuted its Model Twenty – an ultra-slim guitar cab that saved on both weight and space while simultaneously offering an expanded frequency range. As a product that challenged almost 70-odd years of stagnant cab tech, it looked for all intents and purposes to be the future of guitar cabs.

Now, the brand has returned with yet another absurdly streamlined offering in the Model Twenty-Two, which retains its predecessor’s penchant for transportability, size and sonic expansion, but extrapolates its design purpose for a wider range of uses.

Specifically, the new cab – described as “the world’s first flat panel active guitar speaker” – is designed as both an active cab that can serve two functions: either as a dedicated FRFR speaker for your amp modeler, or a amp and cab simulator to pair with a regular pedalboard.

Miraculously, it’s even lighter than the 21lb Model Twenty, with the new model weighing in at just 16.5lbs. Granted, it’s smaller, but still generously sized: it’s 16” high and 22” wide. It’s also slightly thicker – 5” instead of the 2.5” of the former model – but with its expanded functions, that’s understandable.

In fact, it’s so light, you can even wear it with a guitar strap. That’s not a joke, either: we’ve tried it. Our very own Editor-in-Chief, Michael Astley-Brown, was on hand to hear its sonic potential (courtesy of a Tomo Fujita demo) and experience its ridiculous lightness.

In practice, the Model Twenty-Two has an FRFR speaker mode – which, as is usual with FRFR cabs, won’t affect the tone of your modeler – as well as preamp, cab only, and amp and cab modes.

But there’s more to the Model Twenty-Two than simply its game-changing lightweight profile and multi-purpose functionality. It’s also been heralded as “the very first environmentally friendly loudspeaker.”

“The electric guitar, for over seventy years, has been tethered to outdated technology, continually using the conventional direct radiator loudspeaker,” the brand said in a statement. “Now, it's time to break new ground with an innovative concept: introducing the world's first active flat panel guitar speaker cabinet. 

“This cutting-edge design is not just a leap forward in sound quality, but it also marks a milestone as the very first environmentally friendly loudspeaker. This ushers in an unprecedented era of sustainable audio engineering.”

Material consumption is drastically reduced, for instance, due to its smaller footprint. Its smaller footprint, meanwhile, helps with transportation costs: who needs to load a cab into a gas-guzzling van when you can sling it over your shoulder and carry it yourself?

“Eminent Technology's flat panel speaker design allows for the best possible dynamic response in the speaker market,” the brand goes on. “Imagine having access to all 350 watts at your fingertips at a moment's notice and getting the clarity you've only dreamed about thanks to this revolutionary design.

“Coming in at just under 20 pounds and five inches thick, any gig, anywhere, and at anytime is now a possibility.”

Preorders will be available next month for $1,600.

Head over to Eminent Technology to find out more.

Keep up to speed with all gear releases during NAMM 2024 via our guide to the latest NAMM 2024 news.

NAMM 2024: As acoustic fans will know, Takamine has a nice tradition of showing off the best of its luthiery with a limited edition annual build – and its 2024 edition quite literally looks to the stars for its inspiration.

Inspired by everyone’s favorite local galactic haunt, the solar system, the Japanese-made acoustic guitar represents an ambitious and detailed build. The cut-away construction features solid rosewood back and sides, a mahogany neck and a solid Sitka spruce top. 

Inside, the internal bracing has reportedly been hand-voiced by Takamine’s master craftsman Tohru Hirokawa – painstakingly shaving the braces to provide the optimum balance between resonance and structural support.

The top has a finish that fades from an inky Penumbra Blue into the natural hew of the spruce, emulating a rising sun or the effect of an eclipse. 

It also draws on a trend we’ve spotted recently, particularly in Japanese designs, of blending colors and natural wood tones in bursts and fades – see the recent Yamaha Pacifica Professional’s Beach Burst finish, for example.

The LTD2024’s space theme continues up the striped African ebony fretboard, which features an intricate inlaid representation of the planets of the solar system, featuring the sun at the 12th fret. 

Meanwhile, the matching headstock, features a mirrored sitka-to-Penumbra Blue fade, which, alongside the work on the body, seems to suggest the light is fading as you move away from the fretboard sun. 

It’s a clever use of the fade effect that still showcases the natural quality of the wood grain and speaks to the theme. 

Then there’s further decorative detail on offer in the abalone purfing and soundhole rosette. Heck, even the bridge pins have black marble textured inlays.

Finally, you’ve got black chrome hardware, a carbon graphite saddle and Takamine’s Palathetic pickup system and CTF-2N FET preamp.

“Takamine's LTD2024 honors the solar system, humanity’s home in the galaxy,” says Tom Watters, Director Product Development for Takamine Guitars. 

“Everything from its faded finish to its color-matched component materials allow the theme of the solar system to shine through. It’s one of the most unique and spectacular LTD models that Takamine has ever created, and we’re excited to show it off at NAMM!”

For more information on the LTD 2024 solar system guitar, head to Takamine.

Keep up to speed with all gear releases during NAMM 2024 via our guide to the latest NAMM 2024 news.

NAMM 2024: Guild’s S-100 Polara Kim Thayil arrived last fall and represented the culmination of years of work between the Soundgarden guitarist and the US brand.

Now, having got the project over the line – and done so in some style – the firm is making the most of the momentum, announcing a sizeable roll-out of Polara electric guitars at a variety of different prices/specs. 

“This updated range will appeal to a wide variety of players featuring design elements that span from classic 1970s to contemporary modern,” says Guild and, judging on the early evidence, it seems to have delivered on that promise.

As such, the US-built S-100 Polara Kim Thayil Artist Edition now sits atop of a Polara pile (complete with handwound Jason Lollar pickups and a $5,999 price tag), while the new additions – including the Polara Deluxe, Night Edition and standard – will fall under Guild’s offshore Newark St. Collection umbrella. 

That’s the sub-brand that plays home to Thayil’s more affordable signature guitar the Polara Kim Thayil ($899 street), which is incidentally, set to get a new Vintage White colorway option for 2024.

As you might expect, the specs vary across the ranges, but the base model sets the template – featuring a set-neck mahogany build with a U-shape neck, rosewood fingerboard and a Gibson-like 24 ¾” scale-length. 

Then there’s a pair of hot-wound (uncovered) HB-2+ humbuckers with Alnico V magnets and a straightforward control setup of master volume, master tone and three-way pickup selector. 

On the hardware front, there’s a resonant string-through-body bridge, Guild’s stopbar and Rotomatic-style tuners.

All in, it’s a feature set that offers a nice blend of classic and modern and is particularly appealing, given it comes in at a street price of $549. 

The finishes are a great touch, too: offering a choice of Blue Steel, Phantom Green and Voltage Yellow – the latter certainly caught the eye of our roving Editor in Chief (over on the NAMM live blog), who dubbed it “a real retina-searer”.

At the opposite end of the spectrum, you have the Polara Night Edition. A murdered-out all-black, single-pickup model, that looks like a total beast and is utterly committed to its dark theme.

Indeed, it’s so dark that we suspect it might be a black hole – and even on the press images, we struggled to make out the fact it was a single-humbucker spec. 

Guild’s site says it has master volume and tone controls, but that seems to be an error, as it appears to have only a single volume knob. 

That said, there is always the possibility that the tone knob was placed there originally, but has since been lost to its irresistible gravitational pull.

The Night Edition will also retail for $549.

Finally, the top of the new lines is the Polara Deluxe, which comes in at $699 street price, and ups the ornamentation with a bound rosewood fretboard and block inlays, alongside inlay details on the headstock.

There are functional upgrades, too – the Deluxe adds independent tone and volume knobs, plus coil-splitting capabilities to the control set and there’s a Tune-O-Matic bridge, plus Guild Vintage 18 open gear tuners. 

The finishes look superb, to boot, with the option of the Metallic Canyon Dusk, classic Cherry Red, or our favorite, Vintage Sunburst.

It seems that after a long time out there on the periphery of Guild’s output, Thayil’s beloved S-100/Polara is now in good company. 

For more information on all of the new Polaras, head to Guild.

Keep up to speed with all gear releases during NAMM 2024 via our guide to the latest NAMM 2024 news.

NAMM 2024: Kauer – a California-based firm known for its bold-looking guitars – has done it again with the Gripen, a guitar that looks like an origami Explorer. Its first “truly new” guitar in nearly eight years, the model is so angular that even its inlays are wonderfully wonky. 

Named the Gripen, after the Swedish word for awesome, it’s the result of a joint design between Doug and Max Kauer. It’s not too dissimilar from the company's flagship Banshee model but instead replaces all its curves with more angles than Nintendo 64 graphics.

Its cubist shape is cut from Spanish mahogany and is neck-thru. The 24.75" scale guitar encompasses a bound wenge fretboard with Gripen-specific crown inlays to complete its symmetry-free aesthetic. 

Players can customize their order by opting for one, two or three Wolfetone, Lollar or TV Jones pickups. With that in mind, there’s a five-way pickup switch on hand to get the most out of whichever pickups players opt for.

For the neck pickup, the options take in KauerBucker and Kauer90 (Wolfetone), Imperial, Novel 90 (Lollar), and TV Jones Powertron pickups. Those options remain the same in the middle and bridge positions, except the Powertron is replaced by a Magnatron and a Powertron+ respectively.   

There is also the choice of nickel or gold hardware to complement one of the many color options the company has created. From sparkling pinks and greens to a one-of-your-five-a-day orange and grey camouflage, Kauer is making sure its finishes are as extravagant as its silhouette.    

Its hardware is rounded out – although chiseled out may be more appropriate here – with a fixed Tune-O-Matic bridge and tailpiece and locking Hipshot tuners. There's a side-positioned output jack “to allow for the combination of strength and thin wings” and a striking pickguard, complete with a three-stripe, audio bars-esque cut out.

The guitars are made-to-order, with choices from left- or right-handed down to the neck size (thin C 83-93" or standard C 86-98") – fretboard binding color (black or white), and pickguard guard, of which there are six options.

Kauer makes what it calls “perfectly cromulent guitars” – ten points if you get the reference. It's perhaps best known for the aforementioned Banshee model, which has been played by Brad Whitford, Walter Becker, and Rival Sons' Scott Holiday. You'll hear a shed-load of Banshee goodness on Rival Sons' album, Great Western Valkyrie.

“I can’t say enough good things about my Kauer Super Chief,” Holiday once told Guitar World. “That shit is magic! It’s a semi-hollow guitar with Wolfetone pickups and it’s so versatile I can do anything with it. When I’m using it in the studio, it has so many sounds I rarely switch for different tracks. In addition to just a great standard sound, it has a coil-split, phase reverse and a bunch of other options.”

If ordering a more personalized Gripen, there is some important small print to take note of. It states that “Kauer Guitars is not responsible if our product fails to turn women into rabid fans of you or doesn't land you a record deal.” Damn. Wait time for custom orders is currently two to three months.

Regardless of what spec you choose, our experimenting on the website always resulted in a $3,550 price tag. 

Feast your eyes on more information on the Gripen at Kauerguitars.com.

Keep up to speed with all gear releases during NAMM 2024 via our guide to the latest NAMM 2024 news. 

NAMM 2024: Victory has dropped its all-new MK Clean and MK Overdrive guitar amps, which it says are the culmination of Head Designer Martin Kidd’s three decades in the industry. The two units have boldly set their sights on becoming the best single-channel clean amp and the best multi-channel overdriven amp available to players today.

The two tube amps, hand-made and hand-wired in England, are the result of a four-year design and build process for the British brand. Their development, Victory says, was underscored by a mantra of “no limits, no compromise.”

For the MK Clean (a single channel clean amp), Victory’s V140 served as an early starting point, but it soon outgrew its original blueprint. Featuring 100 watts of oomph and four 6L6 power tubes, the amp promises to deliver a “distinct high headroom sound”.  

Whilst those clean tones may be well-suited to blues and country players in particular, Kidd recognized the importance of its ability to break up, too. As such, the MK Clean has been designed with pedals in mind.

The amp provides two voices. Its first ushers a ‘50s-flavored tonality, with voice two consequently allowing for more upper mid-range to seep into the sound.

Furthering the ‘50s vibe, the MK Clean has an Accutronics long tank fitted upside down – a method used for maximizing the quality of the amp's high end decay. To tame unwanted distortion, a Reverb Send control has been fitted, while a Presence control, and Bass and Bright switches, help increase its stylistic versatility.

“The final circuit evolved into something very different to the V140,” Kidd explains. “My focus was on getting the amount of clean headroom required by the blues and country players without having too much headroom to struggle with any drive/boost pedals.”  

The starting point for the MK Overdrive, meanwhile, was the Cornford MK50, Kidd’s revered blues-rock amp head. The end goal for Kidd here was to design the “ultimate overdrive amp”.

The multi-channel amp is built to provide a versatile array of tones. Its clean channel has channel-specific Gain, Presence and Resonance controls, and a Voice switch that adds more upper mids on setting two. According to Victory, there’s enough headroom for pairing with pedals.

The overdrive channel, meanwhile, supposedly has enough muscle and aggression for modern rock and metal players. Like the clean channel, it also has Presence and Resonance controls, but here the Presence will both increase and reduce negative feedback at high frequencies. The idea is to create a foundation for finer tuning.

It also has two gain switches for Crunch and Lead tones, respectively. They too have their own Gain and Volume controls. A voice one/two option will also affect both channels simultaneously.

Voice two is brighter and brings more gain, tightening the sound and response of the amp as it does so. There is also a Master Volume control for these channels.

Victory’s new MK Series amps comes in several custom finishes. Players can choose the color of its panels, handle, and there’s also a wide selection of genuine leather coverings. This is exclusively supplied by Muirhead Scottish Leather – suppliers to the House of Lords, Rolls Royce and Aston Martin, amongst others.

Each amp will be checked over by Martin Kidd personally, and will bear his signature. Only then will they leave the factory.

Victory’s Martin Kidd made his first guitar amp in the early ‘90s. Alongside starting Victory Amps in 2013, he’s become a prominent figure in the British amp-making circuit and has consulted for some big names, including Fortin, Ampeg and PRS.

The amps' production starts in March. The MK Clean costs $4,999, while the MK Overdrive weighs in a little more at $5,199. There are also 1x12 and 2x12 cabinet pairings. The price of these is dependent on your chosen specifications.

The news follows hot on the heels of the release of Victory's 25-watt amp head, The Deputy, which was made in collaboration with Pete Honore. The result is an amp that Honore believes was “missing from the Victory catalog.”

Victory Amps have a host of big-name players and two of those have been in the news of late. Rabea Massaad has just dropped his first two Music Man signature guitars, and Mastodon's Bill Kelliher has just unveiled his latest LTD signature, the Royal Shiva. 

To find out more, head to Victory.

Keep up to speed with all gear releases during NAMM 2024 via our guide to the latest NAMM 2024 news.

NAMM 2024: Peavey is “reviving a classic for the modern era” as it marks the return of its Vandenberg Signature Series with three new finishes. The range looks to mix nostalgia with modernity as it puts a contemporary spin on Adrian Vandenberg's cult classic signature guitar.

The models are available in a choice of Rock-It Pink, Purple Flame (which is actually red, deceptively) and a comparatively tame Matte Black. Each variation comes equipped with a Floyd Rose floating bridge and high-performance Seymour Duncan pickups. Notably, the Purple Flame model sports twin humbuckers, whilst the Pink and Black options offer single coil pickups in the neck.   

Visually, the guitar offers a slightly glitched-out take on the Strat shape, with black hardware the choice for the Pink and Black models. The Purple Flame build, which boasts a quilted maple top, stands out with its gold hardware.

For both their bodies and necks, the trio recruits high-grade mahogany, whilst ebony is the choice of wood for the fretboards. Size-wise, they comprise a 24.75" scale length and 15-inch radius. Those fretboards are adorned with Vandenberg signature inlays, with red diamond inlays exclusive to the matte black model.

They all feature Seymour Duncan pickups, which Peavey believes can offer a “tonal palette that spans from searing, high-gain leads to nuanced, dynamic cleans.” There’s a three-way selector switch and a master volume control for each.

There’s also a TB-6 humbucker in the bridge of each, though – as alluded to above –there are two choices of neck pickups on offer: there’s an STK-S6 Custom Stk Plus in the Matte Black and Rock-It Pink models, and a SH-6 in the Purple Flame.

The original Vandenberg signatures were released in the late '80s and comprised a poplar body with a two-piece maple neck. The new edition, then, sees the signature guitar receive something of a glow-up.

“The reintroduction of the Vandenberg Signature Series is a celebration not only of a groundbreaking guitar, but an influential artist's journey,” says Peavey. The Dutch guitarist rose to fame in the early ‘80s with his self-monikered Vandenberg band.

He would later join Whitesnake and deliver that solo in Here I Go Again. He also co-wrote the band’s platinum-selling album, Slip of the Tongue. That saw him sharing guitar duties with Steve Vai, who is currently out with the reunited original G3 line-up, on the subsequent tour.

“Made to his specifications and road-tested over the years, Vandenberg guitars have become highly coveted on the resale market,” Peavey’s statement continues, “with Reverb currently selling some at a little over $3,000. Now the coveted guitar of the ‘80s is back. Reviving a classic with a perfect blend of '80s nostalgia and modern precision, it offers modern appointments for discerning players.”

Vandenberg sat down for a chat with Guitar World back in August and his rhythm playing was an integral part of what was discussed. He stated that “rhythm playing is the backbone of whatever a guitar player is trying to say – and it’s become deeply undervalued today.”

He also discussed the return of his beloved Peavey model, taking the opportunity to pay tribute to the “absolutely amazing” craftsmanship it showcased.

“As the years passed, people kept asking me if I had any Peavey Vandenberg guitars and if I'd part with them,” he said of the guitar's return. “And since I had a few, I never bothered to answer. And then Facebook groups started popping up in tribute to the guitar, and I saw all these fans. 

“So, eventually, Peavey approached me about bringing it back around a year ago; I said, 'Yes,' and we started working on it. That guitar has taken on a life of its own, which I certainly never expected.”

The revised Vandenberg signature guitars will be available to order soon. They will be sold for $2,999 each.  

For more information head to Peavey.

Keep up to speed with all gear releases during NAMM 2024 via our guide to the latest NAMM 2024 news.

NAMM 2024: Strandberg has been teasing its “biggest news ever” for some time. Now, it has finally revealed its trump card in the Boden Essential range, its most affordable guitars yet. The latest addition to the Swedish luthier’s ergonomic guitar family "redefines accessibility in innovative guitar design".

Strandberg is calling it “a significant milestone” in terms of accessibility. The guitars retain much of the magic that makes Strandberg’s headless guitars so well-loved, but deliver them at a reduced price point of $999.

That’s a fair reduction, with the Boden Standard fetching up to $2,000 apiece. It contrasts with some of its other new editions, too: the Futur range, for instance, goes for $6,250.

Manufactured in Indonesia, it features Strandberg’s signature EndurNeck profile, which can be seen across its range of guitars, in a bolt-on construction with sculpted neck joint heel. The budget 'bergs, which come in Black Granite, Astro Dust (red), and Elemental Blue Satin acrylic finishes, comprise a solid meranti body.

This medium-density wood is seen as an affordable alternative to mahogany and a key reason for its chopped-down price. It’s also considerably lighter in weight than its pricier counterpart, with the entire guitar weighing approximately 2.15kg – that's around just 4.7lbs. It’s complemented by a roasted one-piece maple neck and rosewood fingerboard.

With a 20" fretboard radius and 25.5" scale length, there are 24 frets to dance across, separated by DHP stainless steel fretwire. It also features glow-in-the-dark inlays and side dots for shredding in pesky poorly-lit venues.

Its six strings are fixed in place by Strandberg's new EGS Arc cast zink fixed bridge and string locks. This new hardware is designed to make string changes and minor adjustments near-effortless. It builds on its standard hardware with a new heel for the strings to sit into.

Over to its sonic profile, this is where a little more of the cost-saving can be noticed. Its twin humbuckers are Strandberg-branded custom OEM pickups, rather than the futuristic Fishmans seen in more premium builds. There is no sign of the usual battery compartment on the guitar’s rear, either, which insinuates these are passive pickups.

Players can tap into tonal diversity through its five-way pickup selector. Those modes go from bridge only, to the outer coil of the bridge, the outer coils of both, the outer coil of the neck, and the full neck humbucker only. As is standard in Strandbergs, there’s a singular tone knob and volume control.

“It does everything a Strandberg can do, but bridges the gap to a more traditional playing style," says company founder, Old Strandberg of the Boden Essential. "The Boden Essential embodies a commitment to inclusivity and innovation. It's not just a guitar; it's an invitation for musicians of all levels to experience the iconic design features of Strandberg to facilitate a more enjoyable playing experience.”  

These lightweight guitars come with a free gig bag and Allen key set for string changes. They come strung with D’Addario NYXL 10-46 strings in standard tunings.

As things stand, it is only available as a six-string model. However, given Strandberg’s penchant for extended-range guitars, this is likely to change in the future.

Founded nearly 15 years ago by Ola Strandberg, Strandberg’s ergonomically shaped and headless guitars have become ever-present in the contemporary guitar scene. Played by modern innovators like Plini, Sarah Longfield, Haken duo Richard Henshall and Charlie Griffiths, and Alex Machacek, Strandberg instruments have continually pushed the boundaries of guitar norms.

Cynic guitarist Paul Masvidal has been a key contributor to the brand’s growth and development for over a decade. However, it was announced in early January that he had moved over to Kiesel Guitars, with Ola Strandberg championing his legacy.

“I want to offer Paul Masvidal my best wishes for his future artistry as an endorser of Kiesel Guitars,” he said in an Instagram post. “When Paul teamed up with us at Strandberg over 10 years ago, we had a production of 20 or so guitars [per] month.

“We have gone through at least five iterations of his Masvidalien signature guitar together, including the one based on the now highly sought-after Varberg model. No matter what tools he uses to create his music, I look forward to following his creative endeavors!”

For more information about the Boden Essential range, head to Strandberg.  

Keep up to speed with all gear releases during NAMM 2024 via our guide to the latest NAMM 2024 news.

NAMM 2024: Eastman Guitars has quickly cemented its reputation as one of the finest electric guitar makers of the modern age. Refusing to bow to ergonomic norms and historically popular design trends, the brand is always pushing the boat out, experimenting with genuinely fresh body shapes and tasteful-yet-timeless ways to take the guitar in exciting new directions.

That’s why we’re not surprised to report its latest collection – dubbed the D’Ambrosio Series – is irrefutably one of the most aesthetically-pleasing new electric guitar releases we’ve come across in recent times.

Comprising three distinct variants – Single Cut, Double Cut and Offset – each addition to the made-in-California range, says Eastman, has been conceived to deliver “unprecedented beauty and quality”.

We’re completely onboard with that: just look at them. You’d be hard pressed to find a nicer-looking bunch of guitars on the market, let alone at this year’s NAMM show.

As such, the D’Ambrosio Series – designed in collaboration with master luthier Otto D’Ambrosio – goes beyond looks alone and encompasses some loftier goals. Instead, in Eastmans own words, it “represents our thoughts – both aesthetically and functionally – on the future of solid body electric guitars”.

That bold statement can be felt throughout the spec sheet. Take a glance and you’ll see reclaimed tonewoods (a more sustainable option), custom hand-wound pickups and exquisite finishing can be found across the D’Ambrosio family.

In terms of construction, rare swamp ash from Southern wetlands and wildfire-burned Phoenix pine recovered from the Oregon wilds serve as the heart of the collection across various Single Cut, Double Cut and Offset variants.

The bodies are joined by hard rock maple necks, which have each been meticulously crafted to Eastman’s FullerTone style – a new innovation that is said to offer more sustain and stability though its long-tenon, two-bolt neck-to-body design.

In practice, this method reportedly results in up to three-times greater neck-to-body contact, resulting in improved resonance. “Redefines industry standard”, is the phrase Eastman uses.

Further still, legally sourced Madagascar rosewood also returns to the brand’s lineup, and in some examples is used for the Series’ fretboards, while elsewhere you’ll find roasted maple.

It’s an exceptional combination of woods that sees the D’Ambrosios rise “above scarcity through purposeful craftsmanship and conservation”. And we haven’t even got to the pickups yet.

As alluded to above, the Single Cut, Double Cut and Offset templates are further divided into subcategories, each of which offer a range of pickup configurations. There are SS, SSS and HH-style options throughout, with every combo comprising Lollar units.

While control circuits throughout the D’Ambrosio family are fairly standard, the Single Cut and Double Cut models also arrive in a Kingtone format.

This introduces another new Eastman innovation, with the Kingtone Classic control seemingly opening up “tones you didn’t know your guitar could make”.

Finishing touches include Gotoh 510 tuners and a range of tailpieces on offer, including a choice of the MannMade USA tremolo, and Halon’s patented brass and stainless steel vibrola tailpieces.

“For D’Ambrosio Series, we pursued only the best suppliers in the guitar-making community,” Eastman asserts.

“Everything within D’Ambrosio Series reflects that clear goal; from rare, reclaimed tonewoods offering a signature voice, to custom hand-wound pickups eliciting nuanced tonality, to a new, unique design optimized for playability.

“Guided by Otto’s discerning eye, we set out to create instruments of unprecedented beauty and quality. The D'Ambrosio Series represents our thoughts – both aesthetically and functionally – on the future of solid body electric guitars.”

“Simply put – we left no vintage stone unturned to manifest modernist ideations. This uncompromising approach gives rise to a sum greater than its rarefied parts.”

To find out more about the comprehensive D’Ambrosio Series, head over to Eastman.

For more guitar gear goodness from this year's show, head over to our dedicated guide to NAMM 2024 news.

NAMM 2024: Victory Amps has collaborated with Andertons’ tone perfectionist Pete Honoré for The Deputy. The compact, single-channel amp is said to be “a testament to simplicity, delivering a pure and powerful classic rock”, and supposedly fills a gap in the Victory catalog.

The collaboration came from Honore’s ability to get much mileage out of the Vintage channel of Victory's 25-watt Sheriff amp. Consequently, Victory and 'Danish Pete', who has been using the brand's amps for nine years, looked to expand on that with a simple, fluff-free build.

Tonally, the Deputy’s ethos was a simple one, as Victory and Honoré set about building an amp that can churn out ‘60s blues tones and early ‘70s rock with little resistance as players transition between the two. Its concise approach focused on a ‘plug and play’ mentality to make tone-shaping quick and easy. 

The Deputy packs 25 watts of power via three ECC83/12AX7 and two EL86s, although there is the option of fittings EL84s instead. Housed in a wooden sleeve, the premium all-valve amp head continues the Victory tradition of being hand-built in England.

Despite its streamlined build and small footprint (220H x 390W x 220D, and weighing just over 17lbs), great effort has been spent ensuring none of Victory’s sonic elements were lost along the way. As small as it may be, it still finds room for three-way Voice and Bright switches, and deep in-built reverb for extra spice and versatility.

Of the three voices, position one delivers the lowest amount of gain. Position two lets players exploit a maximum of +6dB gain, which is influenced by the gain settings on the amp, whilst the third position takes position two and boosts its upper mid frequencies and treble.

There’s an effects loop in the back, which is completely bypassed when not in use. That makes it a viable choice for small shows beyond bedroom performances. 

The Deputy has a simple three-band EQ (Bass, Treble, Middle) with extra controls for Gain and Reverb. It can be paired with Celestion Creamback ‘65-loaded cabinets, which come via 1x12 and 2x12 options.

"Having a gain and a master control makes this amp much easier to control in a home environment,” says Honore. “Something that's in-between a very clean amp and a Marshall-y, super-crunchy high gain amplifier that, I thought, has been missing from the Victory catalog. They've absolutely nailed the design of this amp."

Victory Amplification is now in its second decade of amp building, having been established in 2013. Its amps, hand-made in England, are put together by a committed team of engineers that adopt a modern-boutique approach to the design and specification of its amp arsenal.

Signature Victory artists include Guthrie Govan, Richie Kotzen, Graham Coxen And Rabea Massaad, who has just released his first two signature Music Man models. Mastodon riff king, Bill Kelliher, who has also just dropped a new signature guitar in the LTD Royal Shiva, is also a signature artist.  

The head and its partner cabs are available now. The head costs $1,499, with the 1x12 at $869 and the 2x12 rising to $1,129.  

For more information, head to Victory.

With the event now underway, keep up to speed with all gear releases during NAMM 2024 via our guide to the latest NAMM 2024 news.

NAMM 2024: The Yamaha Pacifica is one of the all-time classic budget electric guitars. So much so, we still reckon the 112V variant is one of the best beginner electric guitars on the market. So the release of a Professional version priced at $2,199 has raised a few eyebrows to say the least. As my esteemed colleague Matt Parker put it, “Yamaha is hoping to prove the beginner workhorse has thoroughbred potential.”

Yet back when the format was first created in 1990, the Pacifica was considered a custom-level instrument, built for the LA session players. So the Japanese-built Professional is, in fact, a return to the guitar’s roots.

That said, many guitarists may still struggle to marry the idea of a Pacifica and a $2k price tag. Could a Yamaha Superstrat ever be worth that kind of money? There was only one way to find out.

On day one of NAMM, I hightailed it over to Yamaha’s enormous (and astonishingly loud) third-floor suite and grabbed a PacPro in Sparkle Blue.

First up, these things look real nice in person. The finishes – inspired by ‘Japanese city pop art’ and ‘Southern California vibes’ – are real purdy, the inlays are classy, and the Yamaha medallion on the headstock is a nice touch.

They feel good, too. There’s a satisfying ruggedness to the build that mirrors the Revstar range, but slightly more high-end, with light-touch satin necks and the smoothest control knobs you ever did roll.

It was impossible to hear much acoustically from the guitar on the showfloor, but I was able to plug into a THR30II with headphones to get a sense of how it actually sounds through an amp. And I was blown away.

The balance and clarity of the Professional’s Reflectone pickups is extraordinary – in fact, these pups are some of the cleanest I've ever heard outside of fully active designs, even through what could be a sterile listening environment.

And that makes sense when you consider they were developed with the team at Rupert Neve Designs. It’s the first time the famed audio experts have ever built guitar pickups, and they were four years in the making. The aims were maximum clarity, a wide EQ spectrum that respected bass and treble response without sacrificing either, and balanced volumes on every pickup selection, including the bridge coil-split.

The resultant tone is uncanny, almost like a pre-produced guitar sound, even with distortion. I could feel the touch sensitivity, that juicy jump in output when you dig in with the pick, but with no midrange scoops or tonal weak spots across the positions. It makes you feel more creative, more confident in your tonal options.

The guitar’s exhaustive R&D process extends beyond the pickups, too. Yamaha Guitar Marketing Manager Brandon Soriano – formerly of Norman’s Rare Guitars, dontcha know – took me under the hood, and explained that the PacPro’s physical build was the result of Yamaha’s experiments in acoustic design process.

“Essentially, our engineers have the ability to 3D model the exact guitar and in this 3D modelling, they can try out different chambering – different bevels, different cuts – and they can simulate resonating the wood at different frequencies,” he explained.

“We were able to find out the best way to chamber out parts of the guitar for resonance purposes. So there's some slits underneath the pickguard area on the top of the guitar, and those are serving to reduce the stiffness in that area of the body, but if you turn it over and look inside the control cavity, there's actually a wooden bar running through the middle of it that increases stiffness. We're using this decrease and increase of stiffness around the body to create a balance and a trade-off of frequencies.”

It might sound gimmicky, but this is exactly the kind of attention to detail that will set the Pacifica Professional apart from its many competitors.

More importantly, the playability of this guitar matches up to its tones. Stainless steel frets and compound-radius necks make for a silky smooth experience. The intonation is on point, the action super-low. The Gotoh tremolo is wonderfully responsive and returns to pitch like a champ (shoutout to those roller string trees and locking tuners). I hesitate to call any aspect of a guitar ‘perfect’, but dang, the feel is seriously impressive.

Now, I'm a sucker for Japanese guitars in general, but these are among the best guitars I've ever played, no matter where in the world they're built. In my short time with it, the Pacifica Professional was giving me serious Suhr and Tom Anderson vibes. 

But it still says Pacifica on the headstock – perhaps the only thing I could fault about it. For my money, it doesn’t quite convey the same boutique-level quality that the rest of the guitar so capably delivers.

So, yes, Yamaha may have a hard time convincing players to rid themselves of the Pacifica's beginner guitar connotations. But ignore the Pacifica Pro at your peril: this is a world-class instrument, and I walked away from the Yamaha booth with my jaw firmly dropped and any preconceptions thoroughly shattered.

For more guitar gear goodness from this year's show, head over to our dedicated guide to NAMM 2024 news.

NAMM 2024: From France’s Two Notes Audio Engineering comes the Genome, an in-the-box “ecosystem” of post-processing effects. Taking in amp sims, dynamic IRs and icon-replicating pedals through to correctional tools, the comprehensive suite aims to provide all the digital tools a guitarist or bassist will need in one setting.

Two Notes’ boffins have been creating tour-readied and studio-primed equipment for 15 years, including the creation of load boxes, attenuators and digital cabinet emulators. 

Genome has been five years in-the-making, having been teased in 2022 and given a beta outing in 2023, now Two Notes is ready to drop its biggest imprint in the virtual market – unveiling a software suite that "puts progressive tone-shaping in the driving seat"

It’s being defined as a “carrier-class adaptive channel strip” for end-to-end tone-shaping and it packs a hell of a lot under the hood. Load it up and you’ll find a range of amplifiers, pedals, pro-quality virtual cabinets and additionally juice post-production effects. Future updates will see the amount of digital toys expand further still.  

The software is powered by three all-new proprietary engines and also includes the firm’s signature DynIR technology. That, it says, allows for “seamless assimilation into virtually any live or studio rig.”

The DynIR engine harnesses the power equivalent to 160,000 studio-grade IR files and offers eight mics per cabinet. With dual mic-ing and an apparent 10,000 different mic positions available - accounting for front and back placement - players can put their sonic fingerprints all over the Genome’s DNA.   

Reportedly built for a smooth workflow (thanks to the lane-based signal flow), a total of 20 components unite to make creating presets as quick as possible and put the focus on playing instead of tampering. Optional dual lanes also allow for effortless parallel processing.

AI is a powerful ally to the software. Its Codex technology is a next-generation unification engine which, in english, should mean it helps you make the most of your digital rigs. 

As such, it is fully compatible with the Neural amp modeller (NAM) as well as AIDA-X and Proteus captures, with the AI surgically adapting any static AI model.

In simpler terms, what the Codex offers is an additional interface with gain, bass, middle, treble and volume controls to refine your static amp modeller. There's an option to highlight whether the tone-shaping is for a guitar or bass, with a four-band EQ flanked by low and cut controls. 

Its enhancer panel, meanwhile, allows for nitty-gritty fiddling with dry/wet, body, thickness, and brilliance. Sadly, the latter doesn't make you play any better, per se.

The Tube-Stage Modeling (TSM) amplifier engine serves up pro-grade and uniquely characterized preamps which channel the magic of big-name guitar and bass products. It’s also possible to mix and match these preamps.

A fully customizable poweramp is also present, with four separate tube models (6L6, EL34, EL84 and KT88) ready to be played with for personalized tone-sculpting.  The tubes come with push-pull, AB class or single-ended and A class configurations.

It wouldn’t be complete without virtual pedals, and there are plenty of them. Genome launches with a fairly sizable palette with the likes of a saturated analog delay, a “raunchy” vintage overdrive and Big Fuzz-styled stompbox waiting to be cranked. Its offerings all take inspiration from legendary pedals – you can tell which from their shamelessly on-the-nose designs - and will be added to with fresh updates along the line.

Once tones have been dialled in, a host of studio-grade effects are on hand for further sonic polishing. These include dynamic control modulation, spatial effects and corrective processing and they are all embedded with Two Notes’ Torpedo virtual cabinet emulations.

“Five years ago, we kicked-off a project to re-imagine our long-standing studio mainstay, Wall of Sound,” Two Notes CEO Guillaume Pille says of the project. “Whether it’s an amp DI, a modeling processor, amp sim or a DI instrument feed, Genome is primed and ready to elevate your sonics with all our tone-bending knowhow.

“With a feature-packed roadmap across 2024, backed by an onslaught of component releases, it is poised to become the beating heart of your rig and virtual backline.”

Genome is now available from the Two Notes website and clocks in at $79.99. Free lifetime licences are available to all existing registered Two Notes software. For the non-registered users, a 14-day trial period is on offer.

For more information, head to Two Notes.

Keep up to date with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

NAMM 2024: DIY effects pedal kits are having a bit of a “thing” at the moment, and now Jack White’s boutique pedal brand, Third Man Hardware, has joined by the hype train by debuting its own build-it-at-home fuzz pedal, the Fuzz-a-Tron.

Though not a new concept, the popularity of pedal kits reached unprecedented heights in late 2023 following the release of the JHS Pedals Notaklön. 

At only $99, the solderless Klon clone was one of the most affordable kits on the market, and was met with rave reviews from across the guitar world. Indeed, we tested one ourselves, and found the hype to be fully justified.

Catalinbread Effects quickly got in on the action with the Knight School Overdrive, and now Third Man Hardware – an elite pedal maker known for its premium releases and high-profile collaborations – has issued its own attempt at helping players become pedal makers with a kit of its very own.

While the Fuzz-a-Tron would be noteworthy in of itself, the price tag makes this release even more significant: it’s only $75.

At that price, not only is it poised to be one of the most affordable fuzz units out there, it’s also comfortably more affordable than its DIY pedal kit competitors, undercutting both the $99 JHS Notaklön and $85 Knight School Overdrive.

To that end, Third Man Hardware has made a serious statement with the Fuzz-a-Tron, and while it might not have the same social media exposure that JHS Pedals offerings enjoy, its DIY fuzz looks, on paper, like it could be extremely popular.

Sure, it’s a completely different beast to the Notaklön and Knight School, but when you think of White’s tone, you usually think of fuzz, and so a White-approved option effect (that you can build yourself) – for only $75 – makes for a seriously enticing prospect.

Unlike the Notaklön, the Fuzz-a-Tron requires some soldering, but Third Man Hardware says it has been designed with “the beginner in mind” and requires “little or no soldering experience”.

A QR code for online instructions is included for making sense of the various circuit board and electronic components, with the pedal also offering a Third Man sticker pack for cosmetic customization.

With a design eerily similar to the pioneering Maestro Fuzz-Tone, the Fuzz-a-Tron looks to be as easy to operate as supposedly is to assemble. 

Once assembled, there will be just two parameters – the self-explanatory Tone and Volume – as well as a sole bypass footswitch. In practice, it is said to provide an ambiguous “classic sounding fuzz” effect.

This is the latest notable release from Third Man Hardware this NAMM week, after it finally revealed the result of its collaboration with Donner: an affordable, three-in-one multi-effects pedal.

As for DIY pedals, it looks as though they weren’t part of a fleeting trend: all signs point towards their continued resurgence into this year and beyond.

To find out more, head over to Third Man Hardware.

To keep up to date with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

NAMM 2024: Reverend Guitars has continued its legacy of work with Smashing Pumpkins’ mastermind Billy Corgan with the release of his latest signature guitar, the Drop Z. It takes the spec of his Z-One signature down an avenue better catered for low-tuned guitars. 

Extending the 25.5” scale length of the Z-One to 26.22” and adding an extra two frets to make 24 in total, the cheekily named Drop Z is scaled to keep string gauges nice and tight when drop-tuned. By doing so, Reverend promises a “deep and full” tone when pitched low, whilst remaining punching and clear.

Like the Z-One, it also offers an alder solidbody build, complemented by a classy roasted maple neck and fretboard. It possesses an oval profile, which is designed for comfortable riff-slinging, whilst an aluminum pickguard and low-profile chrome knobs for volume and tone blend modern touches with its vintage visage.  

As it would be amiss without them, the Drop Z is stocked with Corgan’s signature Railhammer Z-One pickups, which are topped with a chrome finish and a design that nods to the classic Pumpkins EP The Aeroplane Flies High – something the pesky folk at Reverend actually did without Corgan’s permission. 

Luckily, he fell in love with the design, saying: “I get so many compliments, people love the design element. It’s something I wouldn't usually think of, and so it's become really signature to the way I view the guitar and it also represents a bit of my history.”

The pickups conspire to deliver a “heightened output and a velvety treble for a rich, weighty rock tone”, according to Reverend. It adds too that the Railhammers are capable of piano-like cleans and massive distortion tones.  

Naturally, for a man who once famously said that “paint color actually changes the sound of a guitar”, the color choice of the Drop Z comes with much interest. As such, there are two finishes to pick from: Corgan’s favorite, Satin White, and an all-new High Tide Blue. Time will tell which color delivers the better tone.   

Billy Corgan and the Smashing Pumpkins have been regulars on the Guitar World site of late. Corgan revealed earlier this month that there are currently eight people working full time to review the 10,000 submissions he’s received to become the band’s new guitarist after a public call-out. 

That news came only a few weeks after revealing a conversation he had with Tony Iommi about not wanting to romanticize your tone, so that it evolves over time.

“He was talking about how people romanticize the old sound, but how he's trying to update that into the modern era," he had said. “At the time I didn't get it, but as I've gotten older I realized that you want your sound, but at the same time, you don't want it to be dated or old. You want your sound to be brought into the 21st century.”

The Drop Z is available now through authorized Reverend Guitars dealers. Its price is yet to be confirmed.

For more information about the Drop-Z, head to Reverend.

To stay in the loop with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

NAMM 2024: Having said it was “eager” to bring a Chris Freeman signature guitar to market, Reverend has now announced its partnership with the Hot Mulligan guitarist, who officially joins its growing artist roster with a flagship signature build that pays homage to the Reverend Double Agent OG.

The signature model takes the Double Agent OG's korina solid body and roasted maple neck and fretboard, and loads it up with a Railhammer Nuevo 90 at the bridge and a P-90 at the neck. The Nuevo 90, which is based on the punk and emo favorite P-90 pickup, delivers the fat lower mids that define the P-90, but is tuned for a better tonal balance and enhanced response. 

There are rear-mounted controls for volume, tone and bass contour, as well as a three-way switch to unite or isolate the two humbuckers. Two additional features, which Reverend believes takes the build into “emo overlord territory”, see those controls joined by a traditional kill switch toggle and a spring-loaded kill button.

Away from the specs, the signature becomes the first Double Agent OG to sport a reverse headstock. It also offers a ghosted control plate and removes the chrome base plate that sits underneath the control pots and pickup switch on the standard models.

Just like the recently announced Drop Z, Reverend’s fourth Billy Corgan signature guitar, there are two finish options available. There’s a loud Powder Yellow and a slightly more subtle, but equally as sassy, Turquoise Sparkle option.  

"We are eager to bring the Chris Freeman Signature to musicians and fans alike," says Ken Haas of Reverend Guitars. "This collaboration captures Hot Mulligan's sound and delivers a distinctive instrument in form and function."

Freeman joins an ever-expanding Reverend artist roster that already includes Billy Corgan and The Cure’s Reeves Gabrels. Fu Manchu's Bob Balch, Nine Inch Nails and Neck Deep's Matt West are also Reverend artists.  

The new signature guitar will be thrown about stages on Hot Mulligan’s upcoming US tour in March and April. The Michigan outfit released their third album Why Would I Watch in May.

The Chris Freeman signature Double Agent OG is available now through authorized Reverend Guitars dealers. An official price is yet to be confirmed.

For more information, visit Reverend.

To stay in the loop with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

NAMM 2024: Mooer has thrown its latest hat into the multi-effects pedal ring with the unveiling of the GE1000 Li – a none-more-modern offering that has been equipped with artificial intelligence.

It is but the latest example of gear manufacturers embracing the latest technological trends and innovations in their products. Just this week, for instance, we saw Positive Grid flirt with the idea for its Spark LIVE – a multi-channel amp that uses a computational audio chip to “dynamically adapt” depending on its placement and inputs.

Though that brand stopped short of flat-out calling its tech AI (favoring the term Sonic IQ), Mooer’s approach is less subtle, with the Chinese outfit fully leaning into its artificially intelligent capabilities.

Specifically for the GE1000 Li – which is also being released as a standard GE1000, but more on that later – Mooer has adopted an AI-driven EQ section, which operates exactly as you’d expect: it automatically adjusts a five-band EQ depending on a selected music style.

This makes the GE1000 Li platform the first Mooer release to wholly embrace AI for its sound-sculpting tools – a precedent that we only imagine will grow with future Mooer developments.

It’s been introduced as the AI EQ Master and, in a rather dystopian fashion, has been described as a “self-learning graphic equalizer”. In practice, the algorithm can automatically adjust the frequency response based on a selected sound type or style of music.

After selecting a ‘Type’ and a ‘Genre’ from the list – for example, Clean Rock – the “learning process” will begin, with the GE1000 Li working to analyze your playing to generate a frequency curve. Finer adjustments if necessary can be made.

It’s inevitable that artificial intelligence will have a more prominent role in guitar gear in the coming years, and Mooer (as well as Positive Grid) has seemingly established a norm for its practical uses. Don’t be surprised to see more self-EQing guitar rigs in the future.

Alongside the AI tech, the other big talking point is the inclusion of a five-inch touchscreen. In this gear climate, the convenience and usability of a pedal is one the most important factors players consider – in fact, the look and feel of a multi-effects could be the next battleground for competing products – and, while touchscreens can vary in quality, it looks like a savvy move from Mooer.

The touchscreen experience is augmented with an array of control knobs and parameters, with the topography totalling four switches, six rotatable dial controls and over 15 configurable buttons.

Aside from these two appointments, the GE1000 Li operates as you’d expect any multi-effects to operate. Here, there are 255 preset slots for effects and amp sims, which are augmented by MNRS GE Cloud support. Third party IRs can also be supported.

Other practical playing appointments include the on-board expression pedal, as well as a Groove Station mode that offers both a drum machine and looper – which can be synchronized – to play along with.

As for connectivity, the GE1000 offers MIDI I/Os, USB-C for audio interfacing and compatibility with the Mooer mobile app, as well Bluetooth audio functionality.

As alluded to above, two different versions of the GE1000 have been released – a standard version and the Li variant. For all intents and purposes, they are the same pedal, though the Li model has the added bonus of coming equipped with a rechargeable Lithium ion battery for when mains power isn't available.

The GE1000 platform is Mooer's latest piece of 'smart' guitar gear, following the release of its pocket-sized Prime P2 pedal and SD30i smart amp.

To find out more, head over to Mooer.

For all the latest news from the greatest gear show on Earth, check out our guide to the hottest NAMM 2024 news.

NAMM 2024: The world’s biggest guitar gear trade show is back – and it’s returned to its rightful January time slot.

Yes, after NAMM 2022 took place in June, and NAMM 2023 hit the Anaheim Convention Center in April, NAMM is back where it belongs: the tail end of January. And it’s a good thing, too, because it means we can bring our old ‘Happy New Gear!’ pun out of retirement.

More importantly, NAMM’s return to its traditional month has enticed some of the brands – and artists – who were more hesitant post-Covid back to the fold.

As a result, we’re seeing more thoroughly exciting releases this year than we did in 2023 or 2022… and we are very much here for it.

In fact, we are literally here for it. Our roving Editor-in-Chief, Michael ‘Mike’ Astley-Brown, is scouring the show floor in search of the hottest, the most ground-breaking, and the downright wackiest guitars, amps, pedals and everything else besides.

Jetlag permitting, he’ll be bringing you snaps and videos from the thick of the action, posted right here in our up-to-minute live blog. This is 21st century journalism.

Back aboard the good ship GuitarWorld.com, our regular editorial coverage continues, with all the latest NAMM news and in-depth – and occasionally funny – analysis of the trends and products that have been grabbing our attention, while MAB will also be sourcing hands-on reports on the gear you want to know about.

Sound good? Well, prepare your wallet/debit card/overdraft, and join us as we bring you NAMM 2024… *LIVE*!

The weather's a little cloudier than we were hoping, but damn, it's good to be back at NAMM. Look how excited/overly caffeinated Mike is. The show hasn't officially started, but us press types get an early preview. And boy was there stuff to preview!

One of the most surprising launches of the show – before it's even started – is the Pacifica Professional and Standard Plus, Yamaha's top-of-the-line, Japanese-made takes on its long-running range, which is traditionally associated with beginners.

In a presentation opening NAMM's Media Preview, YouTube favorite Jay Leonard J took the Standard Plus for a test drive, showcasing its tonal versatility. The key word here is balance: every pickup position, even the bridge coil-split, just sounded… right. We'll bring you more on this one very soon.

Dig out the spandex: the Peavey Vandenberg is back, baby – and Adrian Vandenberg is on hand to promote it. He's very tall, you know. The guitar is being billed as a modern take on the original, and three different versions will be available, complete with a Floyd Rose original tremolo and Seymour Duncan pickups. Noice.

Thankfully, this isn't one of Martin's new models. This is, in fact, the 1870 guitar Kurt Russell smashed on the set of Quentin Tarantino's The Hateful Eight, which is on public display for the first time ever at the show. It's also incredibly hard to photograph owing to its plexiglass prison.

We've covered the full story before, but Martin has also filmed a short documentary about the guitar, which we hope will see release online sometime soon. Suffice to say, they haven't exactly forgiven Tarantino – the company has since changed its loan policy regarding museum instruments. We don't blame them.

Gibson is not at NAMM 2024, but that’s not stopped it from hosting its own LA preview party at its exclusive artist showroom. It had a lot to show the world’s guitar press, too – not least, the long-awaited Epiphone Dave Grohl DG-335 signature guitar.

As such, we can confirm the much-rumored Foo Fighters signature model is now a reality and comes complete with some high-end appointments, including a pair of USA Burstbuckers. We even got to take it for a quick spin...

Ernie Ball has pretty much won NAMM with this string vending machine. It's more of a promotional tool right now, but we would like to see these in every rehearsal space across the world. Make it happen, EB!

Since Jack White first revealed his partnership with Donner earlier this month, the gear world has been abuzz with speculation about what exactly the guitar legend and the budget brand had created together. Now, we finally have our answer.

Featuring Echo, Phaser and Distortion effects, the Triple Threat is a 3-in-1 multi-effects pedal that's priced at $99. 

All aboard! Storied British speaker manufacturer Celestion is celebrating its 100th anniversary by driving a bloody London bus onto the show floor. But wait: who's that in the driving seat?

Meet the TOD10MM – Metallic Mauve is a new one on us, but Tim Henson's much sought-after Ibanez TOD10 is launching in this lustrous shade in the summer. Yum.

So rare, it's concealed in a perspex cage: EHX's Double Anniversary Big Muff Pi, resplendent in gold, is here. It may already be sold out in the wild, but one lucky NAMM attendee can win one. Wish us luck...

Barely six months since it launched, Alex Lifeson's LERXST brand shows no signs of letting up, with the launch of the Limelight, built in collaboration with Godin. Available in both Floyd Rose and VegaTrem-equipped versions, the guitar pays homage to Lifeson's '80s era Superstrats, updated for the modern day.

After many months of teases, Rabea Massaad's take on the Ernie Ball Music Man Sabre has officially dropped. Extra body carves to aid comfort and playability, Bare Knuckle Silo pickups and Bea's custom inlays make this one high-performance workhorse with looks to match.

The Iceman cometh... once again! Yes, Ibanez is bringing back the cult favorite with set necks and Super 80 pickups matched to the original late-'70s/early-'80s specs. Three finishes will be available: Antique Autumn Burst, Antique Blue Metallic, and a flame maple-topped Violin Sunburst, with prices hovering around the $1k mark.

Israeli luthier OD Guitars' jaw-dropping AI-inspired centrepiece, 'Natural Geometric 2024', is headlining the Boutique Guitar Showcase this year. And it. Is. Stunning.

Arise for the LTD Royal Shiva, Bill Kelliher's latest signature model with ESP. It's a Silverburst double-cut based on his old First Act model. It has Mojotone Hellbenders. The price tag is $1,999. Bill has previously told us it is extremely heavy, but unfortunately they've got this sucker clamped to its stand. To avoid lawsuits, presumably.

Boss is celebrating 50 years since it was first conceived by proud parent Roland, and it has brought its OG compact pedals to NAMM to pay homage to its history. The OD-1 OverDrive, SP-1 Spectrum and PH-1 Phaser are all worth quite a lot these days, even in this condition. Nice to see this trio got some use over the years, too.

We've heard of winged guitar builds before, but this is ridiculous. Spanish luthier Alejandro Ramirez put this one together. It's called Ascension. Please tell us those are Seymour Duncan Pearly Gates in there.

Hand-wired Vox combos (and heads) are back, based on a meticulous teardown of vintage AC30 and AC15 models. The circuits have been rebuilt from the ground up – to the point that Vox reckons they could be the best they've released since the '60s.

So, Neural DSP's booth is, uh, different this year. Let's hope we can find out what's going on tomorrow…

Slash's signature Magnatone is finally out in the wild! And it really does look wild. Look at that green snakeskin.

Billy Corgan's fourth signature model with Reverend (by our count, anyway), the Drop Z ups the scale length of his existing Z-One to 26.22" for lower-tuned riffing. That High Tide Blue is a really tasty finish, too.

After the success of its long-awaited signature model for Soundgarden's Kim Thayil, Guild has relaunched the S-100 proper as the Polara. There are a wealth of options and finishes on offer, but this Voltage Yellow finish is a real retina-searer. And all for just $549.

The streets of NAMMtown have been abuzz with talk of Yamaha's new high-priced Pacifica range, which has set its sights on proving the beloved beginner workhorse has thoroughbred potential.

As such, GuitarWorld.com's Editor-in-Chief Michael Astley-Brown – who has been busy scoping out the show floor this year – ventured over to the Yamaha booth to find out whether a Pacifica could ever be worth $2,000. Spoiler alert: the phrases “blown away” and “world-class” are used.

Eastman is well known for its catalog of ultra-desirable electric guitars, and now it's thrown even more into the mix courtesy of the drop-dead-gorgeous, all-new D'Ambrosio Series. Fresh body shapes? Sustainably reclaimed tonewoods? Custom pickups?! Take our money. Take it now.

At last, the cult classic Peavey Vandenberg is back – and we've finally got all the nitty gritty details you could want. As promised, the guitar has received something of a glow-up, with some new tonewoods and pickup configurations to boot. Rad.

We've seen some bold designs already at this year's show, but are any as striking (and controversy-courting) as Kauer’s new Gripen guitar? A twin of sorts of the company's flagship Banshee model, this origami Explorer features crown-shaped inlays and a choice of three humbucker combinations.

Tomo Fujita has been laying it down at the Eminent Technology booth, where the flat cab specialists have developed a powered amp that you can run your pedals and modelers into – and it's so light you can even wear it with a guitar strap. 

Look who we bumped into at the Jackson Audio booth – it's only the busiest man in funk guitar, Mr. Cory Wong.

This is Normal For NAMM. Mexico's Cream Guitars reliably has the wildest booth at the show. This year is no exception.

Oh heeeeeey, John Petrucci! That beard is even more majestic in real life. Maybe that's where the Ernie Ball Music Man Majesty gets its name from – and there are five new colors for 2024. Stay tuned for more on that from the man himself.

It's subtle, but something tells us Fulltone is back. Jackson Audio has licensed the brand and will be manufacturing the OG boutique pedal co's classic stompboxes once more.

One of Jack White's ACTUAL TOURING GUITARS is at the Third Man Hardware booth, and it is completely and utterly wild. We're talking scalloped fretboard, B-Bender, D-tuner, three different kind of pickups wild. It's nuts to play. We kinda want one.

Chibson strikes again with the “puzzle piece guitar,” made real by Paoletti Guitars, and ably demonstrated by the almighty Masters of Shred. Just don't try to take it apart.

Ground Control kinda won the internet this month with its UwU buffer, which features a Tamagotchi-like virtual pet that responds to your playing. But it also features a variant of Tetris, as well as Space Invaders and Snake. Except they're cat-themed, so therefore better.

Danelectro has overhauled everyone's favorite DADGAD-tuned Jimmy Page guitar for 2024 with the Fifty Niner. Featuring a semi-hollow hardboard/spruce body with center block, and new '50s-voiced single coils, it promises a new experience while retaining that familiar format. We're big fans of that new three-way blade selector switch, and the single volume and tone. No more stacked control nightmares! And it's all for $599.

It might surprise you to know that one of this year's biggest NAMM stories – from a traffic perspective, at least – was the release of the On-Stage GWS5000 Guitar Workstation. We've seen it in person, and it's really quite fetching. Think we'd need more space for pedals, though…

Gamechanger Audio is hoping to bring the nerdy appeal of modular synths to guitar players with the MOD Series – a trio of delay, reverb and chorus pedals that can be shaped by the way you playing. The pedals' dynamics and pitch signals can be routed anywhere on the patch bay, allowing for a wealth of wild tones. We heard these at the booth, and they sounded Very Nice Indeed. That reverb is massive.

After a long day of pounding the Anaheim Convention Center halls, we like nothing more than celebrating the 50th anniversary of the original aftermarket pickup. If that can somehow be combined with an alcohol beverage of some description, even better. DiMarzio's Double Cream Ale distils its iconic Super Distortion humbucker into a surprisingly enjoyable brew, which thankfully isn't as high output as the pickup it honors.

Steve Vai said he “evolved fusion-style guitar playing,” Tosin Abasi called him a “virtuoso beyond virtuous,” and Joe Bonamassa said of him after seeing him play, “I have not seen anyone reinvent like this since Stanley Jordan.” Wondering why all these A-tier six-stringers have heaped praise like this upon Matteo Mancuso? Just take a look at this performance...

Black Stone Cherry's Chris Robertson is demoing his new signature model over at the Chapman booth. It's somehow even classier than when we spotted it last year – with some gorgeous f-hole binding – and marks a sleek aesthetic shift for the brand.

Dean may not have been out on the floor, but we got a sneaky peek at what the company has lined up for this year – and it's safe to say the brand's comeback is going to be fierce. 

Competition-beating specs are the order of the day, at surprisingly affordable price tags: this black satin-finished Exile Select Floyd Fluence features Fishman Fluence humbuckers, a Floyd Rose tremolo, glow-in-the-dark side dots, and 24 frets. And it's going to be $999. The mid-priced metal market will seriously heat up when this and the rest of the company's 2024 lineup drops later this year.

Headless guitars are now dangerously close to becoming mainstream, and Strandberg's most affordable model yet, the Essential range, is dead on trend. It's got the ergonomics and the EndurNeck, but with OEM pickups and an Indonesian build. And it's $999. Which is quite, quite awesome.

Zoom has given its MultiStomp lineup an overhaul, which will be great news for the Reddit tone tweakers. Upgraded sounds, new models and easier navigation bodes well for the feature-packed compact units. The MS-200D+ drive modeler will be out first, priced at $139.

Finally, a guitar stand with built-in lighting! Gravity Stands' functionally named Guitar Glow Stand features 246 LEDs that can be dialed into any color of the rainbow (as long as that color is RGB). Surely destined to be the next must-have influencer accessory.

Founded by former Hiwatt builder/designer Kee Mayer, Valhalla Amplification is a new company that aims to deliver hot-rodded Hiwatt-esque drive, as well as ultra-low-noise cleans, all built entirely in the UK. The Ragnar is a 20-watt EL84-based head with two channels and a push/pull gain boost, with high and low power options.

French acoustic firm Lag is taking great strides in the sustainable guitar-building arena, topping its guitars with a tonewood called BrankoWood. It uses wood from short-cycle pine forests, and looks purdy while it's at it.

Round the back and sides, you'll find smoked raw eucalyptus – a wood that requires less varnish, releasing fewer solvents into the atmosphere, and cuts way down on sanding. It's a distinctive look, too.

We found it. Schecter's hallowed Machine Gun Kelly signature model, the Razor Blade, was lurking at the Revv booth, and got a lot of attention. Typically of a Schecter build, it's actually really nice to play – albeit not ideal sitting down.

Think we'll just leave the caption blank for this one.

Larry Carlton may be Mr. 335, but he's branched out into just about every electric guitar type on the planet with his 2024 Sire range, including Jazzmasters that feature a Göldo/Sire ‘Vintage’ JM-type floating bridge – a quality appointment on a budget guitar – while the Edgeless fretboard design makes for smooth playability.

Phil X marks the spot with some dangerously incendiary leads at the Xvive booth.

Acorn Amps were in the business of scene-stealing at the Delicious Audio Stompbox Booth with some amusingly appointed parody pedals, including this smoky take on an EHX classic. Handy if you need an emergency cig and happen to have a Philips screwdriver handy.

Oh hey, in case you missed it, Mike's interview with John Petrucci at Ernie Ball's plush interview suite is now live. Trooch was an absolute gentlemen, and shared some fascinating picking insights. Once the interview was over, we chatted Rock Discipline warmups and starting out on nylon-strings as kids. He also combed his beard before our conversation, which was a sight to behold.

Cream Guitars has an eye-catching booth, sure, but the guitars themselves are absolutely stunning, too. This take on its offset Revolver is crammed with many, many miniature skulls. Presumably not from tiny humans.

Budget UK brand Vintage has branched out from its value-for-money copies and reimagined classic guitar designs in its own image with the Revo range. We're particularly taken by the Integra, which features a seven-piece body, comprising ash, mahogany and maple. There's also a reverse headstock for added cool points.

Yes! We met man of the moment Matteo Mancuso (try saying that after a few drinks), and fawned over his playing for a solid minute as he looked around nervously. His performances routinely drew massive crowds and the biggest cheers of the show. It's clear he's no longer a guitar hero in waiting. He's already there.

Possibly the most important product release of the show given the sheer number of handshakes initiated over three sweaty days, the Boss HS-19 will clean up your palms, but maybe not your tone. We wouldn't recommend trying it, anyway.

We know guitarists are obsessed with all things vintage, so it was probably only a matter of time before vintage reissue straps became a thing. With that in mind, Dunlop and Authentic Hendrix have now released a reproduction of Jimi's Monterey Pop strap – and we want it.

Yes, we know we’re falling for marketing. But… Hendrix.

NAMM 2024: Since launching in 1990, Yamaha’s Pacifica has gained a reputation as one of the go-to guitars for beginners and likely places second only to the Squier Strat in terms of its ubiquity and serviceability. 

While the name Pacifica is immediately recognizable, what is less widely known is that the model was initially developed by Yamaha’s LA custom shop in response to the demands of the area’s session pros. 

Now, Yamaha is celebrating the exclusive origins of its most universal electric guitar by announcing a new line of high-end variants, the Pacifica Professional and Pacifica Standard Plus. 

Yamaha says the new builds will be produced in Japan under the watchful eyes of its master luthiers and will include newly-sculpted alder bodies, a redesigned slim-C necks and Reflectone pickups.

If you’ve not heard of the latter, you won’t be alone, but they’ve reportedly been developed in a partnership with Rupert Neve Designs – known for its unrivalled studio pedigree – so we’re expecting nothing short of sonic candy on that front.

On the electronics side, you’ll find the usual HSS configuration, a five-way selector, coil-split optionality and tone and volume controls. Hardware appointments will include Gotoh locking tuners, durable stainless steel frets and two-point tremolo bridges.

The Professional models, meanwhile, will also feature new compound radius necks, while both the top end and Standard Plus models will offer a choice of rosewood or maple necks. 

Those new body carves look super comfortable and like they’ll offer plentiful upper fret access. And we should take a minute to enjoy the finishes, too – reportedly the result of a combination of influences from the collaboration between Yamaha’s Japanese and Californian teams. 

If nothing else, the Beach Burst feels like it’s adding something new to the overpacked S-style market.

“Guitarists of all types have embraced Pacifica guitars for more than three decades,” says Brandon Soriano, of the Yamaha Guitar Group. 

“And our new Pacifica Professional and Standard Plus models expand upon that legacy by providing significant upgrades and modern features, including our unique Reflectone pickups. 

“The guitars were developed jointly by our teams in Japan and the U.S., and both Japanese city pop art and the sun-drenched vibes of Southern California inspired the new finishes. This new generation of Pacifica guitars truly demonstrates our commitment to serving the needs of modern musicians.”

The challenge for Yamaha is going to be persuading enough of those modern musicians to change their perception of the Pacifica. 

No one regards them as junk shop models in 2024 and they’re widely respected in the entry-level ranges, but the Pacifica Professional carries a suggested retail price of $2,199, while Yamaha tells us the Standard Plus will hit shelves for $1,349. 

As such it’s an ambitious move. Those prices place them in direct competition with US-made Fender Stratocasters. 

Though some may balk at the price point, Japanese guitars are finally getting their dues in the eyes of US guitar buyers and seem to be enjoying a new cultural cache in the industry – just look at the hype around Fender Japan in recent years. 

For information on the Pacifica Professional and Pacifica Standard Plus, head to Yamaha.

Keep up to date with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

The original version of this story reported that the Pacifica Professional had a listing price of $3,700, with the Pacifica Standard Plus selling for $2,220 – MSRP prices that were supplied directly from a Yamaha representative. These have been amended to street prices of $2,199 and $1,349, respectively.

NAMM 2024: Keeley Electronics has announced details of its new Andy Timmons Muse Driver signature overdrive pedal.

Defined as a workstation rather than just a pedal, it can orchestrate a suite of overdrive functionality, from clean boosts to tube amp-pushing and square-wave, germanium fuzz tones.

The pedal is the result of a second collaboration between Robert Keeley and versatile virtuoso Timmons. It was developed to cover a broad spectrum of overdrive needs and continues the Keeley-Timmons partnership, which produced the Halo Dual Echo pedal back in 2022.

Underneath the hood there’s a Keeley-modded, three-control blues driver circuit, and two germanium diodes. The pedal also brings together JFET saturation, diode clipping and op-amp clipping for tones rich in harmonics. That essentially gives players two tone control circuits to choose from.

Controls for tone and drive are accompanied by switches to activate either Andy Timmons or Robert Keeley voicings, allowing players to further alter the pedal’s personality. Timmons’ voicing beneath the tone dial cuts out lows for greater clarity, whilst Keeley’s mode contrasts that by boosting the power of the low end.

That Yin/Yang approach is continued with the switch beneath the drive control. The AT mode offers asymmetrical LED and silicon diode clipping, with the RK mode bringing those dual germanium diodes to the fore for a softer, smoother and almost fuzz-like tonality.

Setting the pedal to AT/AT recreates Timmon’s Super AT Mod tone, bringing, according the Timmons, “The right amount of breakup available at your dynamic command.

“The crazy thing about this mode,” he adds, “is that it also sounds great with the gain turned up, providing an incredibly cool Marshall-esque crunch tone.”

The pedal has been optimized for the needs of both recording and hard-touring guitarists with Timmons, who fits both those categories, crucial in its creation. By simply adding the pedal to your 'board, Keeley says, “Will make your rig sound better.”

Made in Edmond, USA, the pedal can switch between nine and 18-volt operation for diverse dynamic range and plenty of headroom. The professional grade overdrive can also be switched between true-bypass and buffered bypass at any time. This is made smoother by Keeley’s smart noise-free switching system, allowing players to switch on the fly without tone loss.

“We design, engineer, and manufacture the Keeley Electronics/Andy Timmons Muse Driver in Oklahoma City,” says Keeley Electronics. “Everything about the Muse Driver is geared towards the professional musician and their quest for an inspiring tone when performance demands it.”

“The Muse Driver is the ultimate expression of the clean/slightly broken-up tone I’ve been going for over the last several years,” adds Timmons.

The guitarist’s reaction to the pedal – as captured on video by Keeley – is a little more candid.

"Holy shit, that's insane!" he shout. “When we crank that drive up with the germanium engaged it's a super smooth, singing lead tone. I don't have anything in my sonic world that's anything like it.” 

“The real hidden gem here,” Timmons’ official and curse word-free statement continues, “is Robert’s new modification that utilizes germanium diodes instead of the original silicon for a new kind of clipping that works insanely well on its own or as a boost for my lead tone. It has a lovely way of further taming the low-end that I really love. I’m in tone heaven!”

It’s available to order now and costs $199.

For more information about the Muse Drive, head to Keeley Electronics.

Keep up to date with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

Two years after the boutique pedal makers closed its California workshop, Fulltone is returning to the market thanks to a fresh collaboration with Jackson Audio. It will make its full relaunch at NAMM 2024.

The collaboration has been announced via a short documentary published on YouTube, which sees the brand revived as Fulltone USA. The move was instigated by Jackson Audio founder, Brad Jackson, who didn’t want Fulltone to “just go away”.

The partnership is bringing back Fulltone’s name-making units, including the classic OCD overdrive pedal and some currently unconfirmed archived stompboxes, alongside new developments. All products will be made in the USA.

Upon the Fulltone workshop’s closure in 2022, brand founder Michael Fuller spoke about relocating to Nashville with the long-term goal of bringing the company back. Jackson, a guitar player and pedal builder with a “20-year foundational history playing Fulltone products”, was quick to approach Fuller and see if collaboration would work.

The pair hit it off on the phone, but Fuller needed to see more. After a day spent at its Dallas workshop, Fuller was convinced that Jackson Audio was the right partner to facilitate Fulltone’s return.

“I'm pretty good at what I do, but what Brad brings to the table and really attracted me was the ability to work with someone who could come up with things I couldn't do,” Fuller explains in the documentary. “I was blown away by what they were doing with such a small shop. They have good hearts and ethics. That's the 90% you don't have to worry about, the other stuff is minutiae.”

Jackson, meanwhile, is keen to establish that Fulltone USA is its own brand, of which Fuller is the Chief Design Officer. He will have the final sign-off on all product ideas and plans.

“Fulltone USA is not Jackson Audio 2.0, it is its own entirely different thing that we have started with Mike Fuller,” Jackson underlines. “If I have a bright idea for a product, it has to go through Mike; these will always be his products.

“The overwhelming thing about Mike that I don’t think anyone in this industry can touch is that Mike knows when something is right. He worked on the OCD for years. It's not just, 'Oh, build my products’; it's taking the 30 years of my career and Mike's success and carrying it forward into the future.

“Fulltone make legacy products that can serve guitar players for the next 30 years,” he continues. “We want to do for the guitar community what Fulltone has always done: Make bulletproof, amazing guitar products for working class guitar players.”  

Founded in 1991, Fulltone made its name by making boutique pedals without crazy price tags. Chief among those was the OCD drive, which has since grown into an iconic overdrive pedal. Billy Gibbons, Eric Johnson and Paul Gilbert are just some of the names to have grabbed their own OCD pedal.

“The OCD is a really simple pedal and that’s the hardest thing – to make something complicated and make it simple,” Jackson believes. “That's what Mike is amazing at. He takes it down to its core essence for products that appear simple but are really brilliant.”

Fulltone's website states that Fuller's decision to suspend Fulltone's operations was part of a pursuit of a more peaceful life. He moved to a 17-acre property in Nashville, but Jackson, who now sits as Fulltone USA'S CEO, had other ideas.

“Together we can do things that haven't been done that people want,” says Fuller. “The idea is not to change anything doesn't need to be changed. I think we'll be bringing back some cool things that people really liked, as well as some really cool stuff that hasn't been done before. Certainly not by me.”

The brand refresh comes after Fuller was embroiled in controversy following posts made around the looting that followed in the wake of the death of George Floyd by US police officers. His comments led to Reverb.com suspending sales of Fulltone products.

Fuller has since apologized for his remarks.  However, it is unclear whether the brand’s relaunch will see Reverb overturn its decision and reinstate Fulltone products on its website.

For more information about the brand’s relaunch, head to Fulltone.

Keep up to date with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

NAMM 2024: During the last NAMM show, L.R. Baggs lifted the curtain on the HiFi – a “game-changing”, non-invasive innovation that looked to be a significant step forward in the realm of acoustic guitar pickups.

Now, L.R. Baggs has built on the foundations of the HiFi by unveiling its latest acoustic guitar pickup system, the HiFi Duet, which is said to usher in “a new era in acoustic guitar amplification”.

As the name would suggest, the HiFi Duet looks to be an expansion of the flagship HiFi, meaning it retains all of what made the original unit so appealing while bolstering it with the help of an additional microphone.

Specifically, the HiFi Duet is dubbed “the pinnacle of multi-source technology”, combining both L.R. Bagg’s HiFi pickup with a “groundbreaking” Silo mic.

For those unfamiliar with the original release, the HiFi pickup uses two lightweight plate sensors attached to the bridge plate with simple ‘peel and stick’ adhesive strips. Once there, they optimize string definition, provide sensitive dynamics and help deter feedback.

That alone was enough to pique our interests last year – the demo sounded really good – but now L.R. Baggs has one-upped itself and brought the Silo microphone to the table.

Joining the bridge sensors, the Silo uses L.R. Baggs’ Tru-Mic technology and incorporates a new mic capsule for “enhanced ambience and dimension”. According to the company, the Silo was crafted with precision machining and meticulous tuning, and delivers a “pure, unadulterated sound”.

Combining the two is a discrete soundhole-mounted preamp that uses a multi-pole crossover system. This is used to blend “the HiFi Pickups and Silo Mic for an inspiring feel and sound in any mix position”.

There’s also a control module, where the Volume and Mix controls – as well as the battery check and mic level control – can be found.

“Introducing HiFi Duet – a high-fidelity pickup + microphone mixing system that embodies the pinnacle of multi-source technology, combining our award-winning HiFi pickups with the groundbreaking Silo Microphone,” writes L.R. Baggs. “This marks a new era in acoustic guitar amplification, delivering unparalleled sonic excellence.”

The flagship HiFi was a pretty impressive bit of kit – and, for our money, was one of the most impactful new releases at NAMM 2023 – so it seems like a no-brainer that L.R. Baggs would try to make it even better. It seems it succeeded, too: the demo is even more impressive than the last one.

A price for the HiFi Duet hasn't been confirmed (the HiFi went for $199, so you can be sure it will be more than that), but it will be available this summer.

Visit L.R. Baggs for more information.

To keep up to date with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

NAMM 2024: Electro-Harmonix has decided to host a joint celebration of 55 years of the iconic Big Muff Pi and 50 years of the Ramshead circuit, with the announcement of an extremely limited edition Double Anniversary Big Muff Pi.

Indeed, it is so limited that the pedal almost immediately sold-out of its scant 555 unit allocation. However, it’s worth knowing the details, should you ever see one surface online, or in a yard sale in the year 2064... 

The Double Anniversary comes in a traditional ‘Big Box’ format – in keeping with EHX’s first-wave 1970s productions – and is enclosed in an eye-catching gold-finished chassis. 

The chassis has been laser etched with a serial number and inside you’ll find a reproduction of the ’70s-style Violet Ram’s Head circuit. Aside from the bling, the pedal is noteworthy for another reason... 

“For the first time since the 1970s,” says EHX. “The Double Anniversary Big Muff Pi will feature the Ram’s Head circuit in a ‘Big Box’ full-sized Big Muff Pi chassis for all of the original mojo and magic craved by the true believers.”

As was often the case at the time, construction varied throughout the decade, but the Violet Ram’s Head (produced around 1973) remains one of the most popular editions of the pedal and is considered by many to be the definitive ’70s fuzz sound – a fact cemented by its use on David Gilmour’s Comfortably Numb solo.

The Violet Ram’s head demarcation comes from the old school wooly-haired EHX logo (which was not actually intended to be sheep-like) and violet or blue text featured on the units.

Back to the present day and EHX has tipped the cap to its violet namesake with a purple indicator LED and a “regal” purple velvet bag, held inside a wooden box – itself a nod to the firm’s Sovtek-era pedals. There’s also a holographic sticker and a certificate of authenticity thrown in, as cherries on top.

The pedal was available directly from EHX (as of noon ET yesterday) for $250 but sold-out within hours, so aside from lining the pockets of a pedal scalper on a resale site, the only chance of bagging on now is by entering a competition on the Electro-Harmonix Double Anniversary page.

The lucky winner will not just take home the Double Anniversary Big Muff Pi, but every one of the firm’s 15 Big Muff pedal variants currently in production.

Maybe it’s simply the gold finish, but we think EHX is onto something, er, bigger, with its full-size reissue, which flies in the face of the ‘nano’ trend that occupied pedal-makers (at EHX and beyond) since the 2010s. 

The reissued NYC Big Muff Pi has remained a full-size stalwart since its reintroduction in 2000, then last year we saw the EHX/JHS collaboration the Lizard Queen also released as a limited big box format. 

We wonder if the heated interest in the Big Muff Pi Violet Ramshead will be enough to generate more full-size additions to the firm’s fuzz line-up. 

For more information on the Double Anniversary Big Muff Pi, head to Electro-Harmonix.

Keep up to date with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

Taylor has already dropped its NAMM 2024 trump card with the unveiling of its all-new Circa ‘74 acoustic guitar amp brand. The latest card to be pulled from its sleeve, however, is a little closer to home, as Taylor has now launched a trio of 50th anniversary acoustic guitars.  

The special 50th Anniversary Limited Edition Series, which will roll out throughout 2024, is made up of commemorative versions of different bestsellers from across the brand's half-century existence. 

Together, the collection will reflect the changing tastes, styles and wants of Taylor guitar players over the years.

To signify the collection’s celebratory aspect, each guitar will share a design theme marked by gold tuners and ebony bridge pins with gold acrylic dots. A commemorative 50th anniversary label can also be found inside each guitar.

First out the traps is the 50th Anniversary Builder’s Edition 814ce LTD, which is a tribute to Taylor’s quintessential modern acoustic guitar model. It features the popular grand auditorium body shape that Taylor originally introduced for its 20th anniversary celebrations three decades ago. Since then, it has become the company's flagship body shape.

This anniversary model pairs Indian rosewood for its back and sides with a sinker redwood top made from reclaimed logs plucked from the rivers of northern California. That wood blend, alongside Taylor’s V-class bracing, is said to bring rich lows and sparkling highs to whatever chords it strums.

The 814ce also features Taylor's intuitive Expressions System 2 (ES2) – a pickup system found nestled behind, rather than under, the saddle of the guitar. The revised positioning of the system's three individually calibrated sensors enables for dynamic acoustic amplification.

This anniversary build draws from the ergonomic contouring and performances of its Builder’s Edition line, with chambered, unbound body edges and a bevelled mahogany armrest. It ships in a Taylor deluxe hardshell case.

Next up is a re-imagined 314ce, which sports a torrefied Sitka spruce top. For context, torrefaction is a roasting-like process used to remove all moisture and impurities from the wood. For its back and sides, an African sapele has been chosen, stylized with a vintage-inspired shaded edgeburst.

It’s a pure-at-heart build that blends a vintage, time-worn look with modern freshness. The wood pairing, according to Taylor, delivers “balance and clarity with pleasing warmth, projection and sustain”.

Completing the trio is the AD14ce-SB, an alternative take on Taylor’s recently launched American Dream Series collection. Talking recently to Guitarist, Andy Powers revealed how the pandemic inspired him to venture down a minimalist route with this new series, which debuted in 2020 and continued to roll out exquisite builds throughout last year.  

The range channels the resilient spirit of Taylor’s earliest years from the original American Dream guitar shop in Lemon Grove, California, which was the setting for when co-founders Bob Taylor and Kurt Listug first crossed paths. This anniversary model is a fitting tribute to that heritage.

The spruce-topped cutaway grand auditorium unites walnut back and sides with a hand-sprayed tobacco sunburst top. Adding to its neo-vintage chic are clean Italian acrylic dots and a firestripe pickguard.

Tonally, it evokes a strong midrange presence and balanced warmth. It’s a guitar that Taylor is calling “a spectacular workhorse player guitar for all genres”.

“Here we are at 50 years, and not only am I delighted with our progress but humbled by the success of Taylor Guitars,” says Taylor co-founder Bob Taylor of the 50th Anniversary Collection. “These special 50th anniversary guitars are a tribute to all the players who have made Taylor a part of their musical journey over the past half-century.”

Hype and history aside, how much will one of these guitars set you back? Well, a fair amount, it has to be said.

The AD14ce-SB is the most affordable at $1,999, with the 314ce rising to $2,799. King of Price Mountain, however, is the 814ce, which costs $4,999. Its ES2 pickups are partly responsible for the bump.

For more information about the Taylor 50th Anniversary Collection, head to Taylor.

Keep up to date with all gear releases ahead of NAMM 2024, head over to our guide to the latest NAMM 2024 news.

NAMM 2024: This year’s NAMM is already proving to be full of surprises, but Taylor might just take the cake with the surprise launch of its very own brand, Circa ’74. 

We didn’t think there was much of a gap in the market for acoustic guitar amps, but Taylor clearly thinks otherwise – and has clearly noticed that many of the leading competitors are lacking in the looks department. 

These days, electric guitar players are spoiled for choice when it comes to attractive amplifiers – from vintage-style tube combos to cheap practice amps, there’s an increasing array of aesthetically-pleasing designs out there in 2024. 

The same cannot be said for the acoustic amp options, which can often be confused with the black, boxy looks of your typical PA. There are some exceptions, of course, but as a rule, they look like they’ve been hit with the ugly stick.

As such, the debut Circa ’74 release, the AV150-10, has been conceived to address just that issue, alongside a general lack of choice for acoustic players. Channeling the mid century modern design that has become de rigueur since Mad Men first hit our screens back in 2007, it looks like the sort of thing you’d find in Don Draper’s office.

As Taylor puts it on the Circa ’74 site: “Finally, an acoustic and vocal amp you can leave in your living room when company comes over.”

The final design is the brainchild of Bob Taylor, pro guitarist Terry Myers, electronics maestro Tyler Robertson and one of Taylor’s leading woodworking craftsman, David Judd.

There are vintage style control knobs, mahogany cabinetry and a fittingly retro grill cloth. Despite the vintage good looks, though, underneath the hood it’s actually a two-channel solid-state circuit, pairing 150-watts of power with a 10” speaker.

While most of us are used to PA-like options and the occasional acoustic preset, the AV150-10 is an acoustic amp through and through and, as such, considers the needs of the acoustic performer first. 

For example, there are built-in presets for Fishman, LR Baggs, K&K, and Taylor's Expression System pickups, as well as for leading mic options from the likes of Shure, Electro-Voice, and Telefunken. 

On the control side, you have a three-band EQ, plus volume and reverb for both the acoustic and vocal channels. 

Connection wise, you have a 1/4" XLR for input A, 1/4” jack for input B, and 1/8" aux in, and it’s also Bluetooth compatible, enabling you to run backing tracks, or music while you’re offstage. We’d wager it certainly won’t look out of place under a spotlight either.

On that front, a final touch that we love – and that speaks to the increasing trend of guitar furniture announced this year – is the inclusion of a mahogany wooden amp stand. 

All that mahogany comes at a cost of course – the AV150-10 has a premium price tag of $1,199. But, dang, it looks expensive…

For more information on Taylor’s new amp brand, head to Circa ’74.

NAMM 2024: Positive Grid has made some serious waves already at NAMM 2024, announcing a Spark LINK wireless guitar system and the all-in-one backline/PA/smart amp the Spark LIVE. Its third and final announcement appears to be an updated take on its wireless footswitch, named the Control X.

The original Spark Control launched in November 2021 and offered four assignable footswitches, enabling you to control patches, effects and smart practice features (like audio playback), according to your preference. 

The new Control X ups the footswitch count to six and pairs them all with colorful LEDs that reflect the mode or assignment of the switch (similar to Line 6’s HX Stomp/ Helix lines, or Fender’s Tone Master Pro – but we’ll come back to that).

As opposed to the long four-in-a-row arrangment of its predecessor, the six switches are positioned in two rows of three. It’s also now edged in tolex, befitting the Spark amps’ aesthetic. 

More importantly, it also responds to two key demands from players regarding the original Spark Control, now offering two expression pedal inputs and the ability to directly connect to new Spark hardware, without using the app. 

Sadly, it’s only the just-announced Spark LIVE and subsequent Spark amp releases that will have this ability – the vast majority of the Spark user base will still need to connect the footswitch via the app and keep the app open.

Clearly, Positive Grid is facing a hardware limitation when it comes to the previous Sparks or we’d imagine this would otherwise have been resolved in a firmware update. Still, the app connections on the old Spark Control were pretty seamless, so we’d expect the same functionality here.  

There’s another potential gripe for Spark devotees, too – in that the tight positioning of the original Spark Control’s footswitches was already an issue for larger-footed players and we suspect the even more condensed (and double-stacked) Control X will feel too compact for some. And there’s still no looper.

Instead the emphasis is clearly on making it super portable and, as you can see from the pics, its footprint is only slightly larger than a smart phone. What’s more, it's got a rechargeable battery that offers a very impressive 150 hours of playing time. 

It’s priced at $149, compared to the original Spark Control’s $109 tag, but the Control X is clearly an upgrade – and we suspect the original Control will remain on the market to give players some choice.

Crucially, it marks a bigger step forward for the Spark series and feels like the missing link between the Spark series and the likes of the techier floor modellers on the market. Positive Grid already has the tones, software and hardware to make it one of the best-selling amps of 2023 – but it’s been missing a convenient floor option. 

So while we probably won’t be seeing it at NAMM 2024, the prospect of a Spark floor unit that could undercut the likes of Line 6’s Helix as the go-to affordable floor modeller suddenly feels a lot more possible.

For more information on the Control X, head to Positive Grid.

Positive Grid has launched the Spark LINK wireless guitar system, which marries an ultra-low latency design with hinged input and an extended range for cable-free guitar playing. Unveiled in the build-up to its appearance at NAMM 2024, the Link is designed to work perfectly with Spark amps, but is just as well suited to any other amp on the market, and can plug into any instrument with an output.

Compact in size, it packs down to easily fit into guitar bags when not in use, and delivers up to 71 feet (21m) of wireless transmission when it is. Its signal beaming offers 24-bit/48kHz audio quality across a frequency range of 20Hz to 20kHz.

At the wireless system’s core is a new proprietary chipset that delivers up to three meters of ultra-low latency performance. There are also four proprietary channels, swappable with a single click. That means you and three other bandmates can use Spark Links at the same time as each other without dastardly interference between them.

Conscious of the wealth of different guitar designs, Spark LINK offers a hinged plug that can shift 110° to cater for even the oddest of jack input positions. It is suitable for electric and acoustic guitars, as well as basses and any other instrument with an output, such as electric ukuleles and violins.

It’s also built to be discreet. Its transmitter and receiver are sleekly designed with roughly-USB-sized black and gold casing helping it blend in with the instruments and amps it plugs into.

The transmitter and receiver are the same size and feature the same design, separating it from bulkier wireless units which necessitate extra cabling and floor space. Consequently, Sparks says that the minimum fuss design enables players to “escape the cable clutter and connect to anything.”

Reliability is also vital. Vitally, there’s a rechargeable battery unit that offers up to six hours of playtime on a single charge. It's powered up with the included USB charging cable. It is available to pre-order and costs $129.

Guitar World had a first look at the LINK system, which we branded a no-nonsense bit of kit that lets you focus on the enjoyable part: playing the guitar.

Positive Grid defines itself as a company that wants to “remove the barriers to enjoying and making music”. Its gear portfolio includes the Spark family of smart amps and Bluetooth speakers, the BIAS line of guitar processing amps and effects as well as the RIFF guitar interface.  

For more information on the Spark Link, head to PositiveGrid.com.

NAMM 2024 is just days away and news is dropping at a rapid rate. To keep your finger on the pulse with all news and developments head over to our guide to the latest NAMM 2024 news.