A delegation of NAMM members and music industry leaders, among them NAMM President John Mlynczak, visited Capitol Hill on May 13 to urge members of Congress to exempt musical instruments from existing and potential future tariffs, and provide relief from the current tariffs.

Julie Robbins, CEO of boutique pedal makers EarthQuaker Devices represented the state of Ohio and gave her own testimony on how the current tariffs, in place since last year, have negatively impacted the company.

“EarthQuaker Devices has spent more than $100,000 in tariffs since April 2025,” she revealed. “That's money that could have gone toward good jobs for Ohioans and provided our team with more resources to innovate.

“Today, I asked Ohio's Congressional Representatives to stand up for their constituents, and I will continue to advocate for relief as long as I have to in order to get them to join the fight in earnest.”

Founded in 2004, EarthQuaker Devices was founded by musician Jamie Stillman, Robbins’ husband, who was previously involved in the cult record label, Donut Friends, which he operated from his home in Ohio.

After successfully repairing an overdrive pedal, Stillman kickstarted his boutique pedal business and, in 2007, released his first full-production pedal, the Hoof fuzz.

The Hoof quickly sparked the imagination of gearheads worldwide, enabling Stillman to quit his day job and focus on designing and developing pedals full-time.

A couple of years later, Robbins joined him as the fast-growing company’s CEO and relocated EarthQuaker to an abandoned glass factory, and later, to a vacant automotive paint warehouse, while also building a fully fledged team.

Since then, the Ohioan brand has been at the forefront of the left-field and boutique effects boom, and Robbins has also played a key role in advocating for smaller manufacturers.

Last May, Robbins shared that the business is at risk of going bankrupt and, in front of federal lawmakers, stated that the tariffs have increased costs and slowed sales for the company.

“This year our exports are down as much as 50% to 100% in some countries,” read her written testimony.

“Our customers say this is due to anti-American consumer sentiment and the global financial fallout from the chaotic rollout of U.S. tariffs. It is devastating to see America’s reputation fall so swiftly.”

Meanwhile, Mlynczak has continued to emphasize how the “unpredictability and suddenness” of the tariffs did not give firms “the time to plan, adapt or evolve,” leaving long-lasting, negative consequences for the industry as a whole.

NAMM President John Mlynczak has delivered testimony in Washington, DC, regarding the impact of Donald Trump’s tariffs on the music industry.

Speaking before the Office of the United States Trade Representative (USTR) Section 301 Committee in the Capitol on May 8 on behalf of the NAMM and the 10,000 companies it represents, Mlynczak echoed sentiments he expressed last year.

He had said that the “unpredictability and suddenness” of the tariffs did not give firms “the time to plan, adapt or evolve,” leaving a lasting, negative impact on a multi-billion-dollar industry.

“Tariffs are tilting the playing field against American businesses and the millions of students who rely on affordable access to musical instruments,” Mlynczak said in his statement. “Our industry depends on a global supply chain built over generations.

“Policies that increase costs without expanding domestic capacity ultimately reduce participation in music education and weaken long-term U.S. competitiveness.”

Guitar, amplifier, and pedal manufacturers often buy at least some of their parts from overseas, meaning that even US-made products are being affected by the tariffs. That's seen Electro-Harmonix founder Mike Matthews question whether it could continue to turn a profit, and EarthQuaker Devices speak of fears of bankruptcy.

And as firms were left to debate whether to absorb the increased costs or pass them on to consumers, Morgan Amps said the tariffs would add an extra $1,000 to the cost of its amp heads.

As such, Mlynczak has emphasized that the US music products industry accounts for $9 billion of the $19.5 billion global market. Global supply chains for musical instruments, he adds, rely on specialized materials and craftsmanship that cannot be replicated domestically, which ultimately gives foreign competitors pricing advantages.

Entry-level instruments are said to be “disproportionately affected” with imports of wind instruments down 27% and pianos down 20% in 2025, with Mlynczak also underscoring that reduced access to beginner instruments “threatens the pipeline that sustains US-made professional instruments and the broader music ecosystem.”

“With 44% of all global musical products sold in the US, there is not enough domestic capacity to meet the demand,” he details. “Many companies that manufacture professional instruments in the US also rely on overseas production to meet the demand of entry- and mid-level students and musicians, creating American brand and retailer loyalty from the first touch.

“Tariffs will not shift purchases to US-made beginner instruments. Instead, they will price beginners out of the market, which will hurt the American students, retailers, and manufacturers that depend on today’s students becoming tomorrow's customers.”

NAMM is one of 151 associations and companies making the trip to Washington to deliver in-person testimony, with the United Auto Workers Association among them.

As announced on March 17, the Administration has indicated this investigation could lead to the restoration of tariff levels previously imposed under the International Emergency Economic Powers Act (IEEPA).

NAMM 2026: The NAMM Show, in case you’re new to the beautiful circus that is the musical instrument industry, is the National Association of Music Merchants trade show.

Ostensibly it's a three-day conference in Anaheim, California, for the people who make gear to show it off to the people who buy gear, i.e., music merchants. In reality, it's a vortex that draws in every corner of the music biz.

Just as soon as you're shaking your head at a Gene Simmons impersonator, you're bumping into Stevie Wonder.

Yet, beyond the personalities on display, it's the chance to see and play nearly every piece of bass gear imaginable that makes the NAMM show a worthy annual pilgrimage.

For three days, we scoured the halls and searched through the masses of full stacks, combos, Class D heads, 4-strings, 5-strings, 27-strings (probably), and the heaps of new pedals to hit the shelves.

The result was a bout of hearing damage, calloused feet, and a roundup of all the exciting and amazing products debuting in the bass world.

Between talking shop with the best luthiers, and catching up with our bass guitar heroes, the yearly conglomeration of all things music was a wild success that left us lusting for new basses, amps, and pedals of every kind.

Here’s our pick of the crop from this year’s show.

Ernie Ball Music Man 50th Anniversary StingRay

It’s hard to believe that Music Man’s best-selling bass has been with us for 50 years, as it’s such an inescapable feature of the bass guitar landscape. Music Man designed and released the StingRay in 1976, a worthy successor to the Precision and Jazz Basses that Leo Fender had designed two decades before.

Ernie Ball's 50th Anniversary model celebrates five decades of the StingRay. They’re highly exclusive too. Available in two versions: the Liquid Gold will come in just 50 instruments worldwide, while the Molten Gold will be limited to 300 instruments. Each is fitted with a single humbucker and a commemorative 50th Anniversary silkscreen on the back of the headstock.

A truly exclusive bit of Californian craftsmanship that should have extra appeal to the well-heeled Music Man aficionado.

Aguilar Octamizer DLX

An effect that plunges you deeper into subsonic territory can only be a good thing, right? We are, of course, talking Aguilar’s Octamizer pedal.

The original circuit has been updated with an added octave up setting that’s a sure-fire solution to adding thickness to higher-register lines. Three independent footswitches provide control over the clean signal, octave down, and octave up effects, allowing you to stack voices instantly without adjusting any of the controls. The clean signal can now also be fully muted for pure sub-octave tones.

“When we set out to design the Octamizer DLX, the goal wasn’t to fix the original Octamizer – it was already doing what bass players needed,” writes Aguilar. “We wanted to keep that familiar feel intact while giving players more creative space, better tracking, and new voices they could access instantly.”

Walrus Audio Mantle Analog Bass Preamp DI

The new Mantle DI by Walrus Audio is a must-try for bass players serious about tone. It features two proprietary custom-wound Sapphire Transformers, and an EQ that’s designed to offer “powerful control over sub-lows, mids, and top-end content while remaining intuitive for fast tone shaping.”

If none of that makes sense to you, just know that bass gear guru Ian Martin Allison beelined it to the Walrus Audio booth solely to rave about it.

“I am an absolute DI fanatic, owning probably 50+ DIs and preamps,” said Allison. “And while they’re all great in specific ways, they all either lack something critical or try to stuff in too many features, making for an underwhelming or even overwhelming user experience. This is exactly why I needed this product to exist. I’m thrilled to say that now it does. And it is absolutely killer.” 

Ashdown Engineering UK-Built Amp Range

A manufacturer whose bass amps are ever growing in popularity, judging by the number of bass players we spoke to who love them, Ashdown Engineering has announced Phase 2 of its return to UK manufacturing with five brand-new UK-built amplifier ranges.

Finished in distinctive Ice Blue, the range spans ultra-portable micro heads, clean and intuitive amplifiers, studio-inspired combos, and powerful Rootmaster systems – each designed to deliver “unmistakable Ashdown tone, reliability, and practicality for today's bassists.”

Spector Limited Custom Shop SB-1

The first bass designed by Stuart Spector in the mid-1970s wasn’t quite as slick as the current range, but with other luthiers queueing up to take a long, hard look at the body shape, it left a mark on the bass world that is still obvious today.

Recreated in celebration of its 50th anniversary, the new SB-1 stays faithful to the original specs, including the body shape, pickup placement, vintage-style headstock, and neck-through construction.

Spector has created only 50 of these unique throwback basses in four wood options: 15 of walnut, 15 of maple, 10 of curly cherry, and 15 of rainbow alder, making it a unique collectors item.

As Spector put it, “The SB-1 predates the iconic NS series and is the foundation of the Spector legacy. This limited Custom Shop run brings the historic SB-1 design back.”

Fodera Victor Wooten '83 Monarch Standard

If Victor Wooten has a hand in a product, people are bound to take notice of it, and his Fodera signature model is no exception. Honouring Wooten’s original 1983 Monarch (serial number 037), the Victor Wooten ’83 Monarch Standard is essentially a Monarch featuring details from Victor’s own bass.

It features a solid mahogany body with a beautiful maple top. The three-piece maple neck has an Indian Rosewood fingerboard with clay dot inlays. And powering it all is a Trickfish Custom 3-Band Preamp wired to EMG P/J pickups.

Hearing Wooten himself test out its rich tone and dynamic range was the icing on the cake. “I got my first Fodera in 1983,” said Wooten. “I got it right out of high school and it just fit me perfectly. I’ve stuck with them ever since.”

Laney DB-East-Pre

Session veteran Nathan East was also on hand to demo Laney’s latest bass preamp that he helped design, and we were knocked out by its sound. After unveiling the dual-input DB-East signature head last year, the British amp builder is now offering the inner workings as a pro-level preamp.

With dual inputs and two pre-dialed-in outputs, the DB-East Pre features a tube channel, a Range dial for adding bottom end to its overdrive, selectable mid pre-shapes, and a Tilt switch for a little more bottom or top end EQ.

There’s even a partner app to dial in East’s favorite impulse responses, including IRs from hit record rigs. Pretty much everything a bassist could need on the fly.

“It's a total game-changer,” said East. “There's a lot of information packed into this little box.”

Aguilar Tone Hammer 210 Combo

Rated at 300 watts, Aguilar's new Tone Hammer combo features a vertically-oriented cabinet loaded with two custom ceramic 10-inch speakers inspired by the company’s DB series.

The back is home to dual XLR outputs for front-of-house and in-ear monitor routing as well as built-in cabinet impulse responses. A headphone output and auxiliary input seal the deal.

“The Tone Hammer combo wasn't designed as a scaled-down solution,” a press release states. “Instead, Aguilar focused on the environments bassists actually work in – small venues, Broadway pit settings, and houses of worship where players often rely on in-ear monitoring rather than stage volume.”

Dingwall Jacob Umansky 'Sol' Signature

Bass players of all stripes queued up to check out the latest collaboration between Jacob Umansky and Canadian luthier Sheldon Dingwall.

Designed as a mass-appeal version of Umansky’s Dingwall Custom Shop Z3, his signature model retains a host of premium features including a bookmatched ash top, a matte white/black ceruse finish and Darkglass electronics.

It’s not just for shredders either, with a pickup configuration that makes it far more versatile than you might think. Sure, you'll need to get to grips with that multi-scale fingerboard, but where else are you going to get that tone?

“It’s more than just an instrument to me,” said Umansky, having tested the prototype on tour with Intervals last year. “It’s a reflection of how I play and who I am as a musician. Each time I pick it up it pushes me to explore new ideas.”

Blackstar MM Debut Bass 25

There were rigs of all sizes at the Blackstar booth this year, but what caught our attention was the compact MM Debut 25, a Marco Mendoza signature edition of its Debut Bass 25 practice amp. With Clean and Drive channels, and a responsive 3-band EQ, this is a bassists dream for backstage practice. Other features include Mendoza's distinctive Bird logo, bespoke tolex, and custom fret cloth.

“The MM Debut Bass 25 is everything a bass player needs to enjoy playing every day,” said Mendoza. “It’s simple, inspiring and sounds incredible.”

Fodera x Trickfish Preamp & Practice Amp

Of all the excited rumblings we heard on the show floor about new products, Fodera’s collaboration with Trickfish might have been brought up the most.

Pairing the tone shaping of Fodera’s boutique instruments with the clean preamp circuitry that Trickfish is known for, this new preamp and practice amp has got everything you need: headphone out, aux in for play-alongs, DI out for recording, and a 4-band EQ. Plus the added ability to switch between 2-, 3- and 4-band to make on the fly adjustments quickly.

Ibanez Mode Series

The latest new models to arrive from the Ibanez stable are built upon a foundation of ergonomic design. And with split-coil Delta pickups and a Sonictech S Preamp onboard, they sound just as good as they look – but most important, they feature a competitive price tag that could allow almost any bassist to cop a high-end electric.

Other features include a passive tone control with a push/pull active/passive switch, the MR5S monorail bridge, luminescent side dots for stage visibility, and Ibanez’s new Aero-light Tuners.

Aria Pro II SB-CLB Cliff Burton Signature

Elsewhere at the show, Aria announced a commemorative signature bass to mark 40 years since Cliff Burton's passing. A reissue of the Aria Pro II Cliff Burton – which launched in 2013 with the approval of his family and Metallica – the new model retains many characteristics of the original with a few additional features.

It’s built with an ash body, a 7-piece maple/walnut neck, and a 24-fret rosewood fingerboard. Aria fits it with an MB-1E pickup and their B.B. Circuit, which features an Attack Mode Selector offering six predefined EQ curves. Burton’s signature is also reproduced on the back of the headstock.

Tech 21 Geddy Lee Amalgamation Signature Chorus

Also new for 2026, Geddy Lee has teamed up once again with Tech 21 to create a chorus pedal tailored to his own personal specs, allowing you to get even closer to his signature sound.

“With the Detune control, you can adjust the pitch of the choral voicing,” write Tech 21. “Engaging Deviate mode alters the Detune function and adds an additional voicing for even more depth – as if 3 people are playing at once.”

Speed and Depth knobs round out the control set for adjusting the modulation.

The music industry descended on Anaheim, California, last week for the 2026 NAMM Show, and the five-day spectacle delivered everything gear-heads and industry professionals could hope for. Held at the Anaheim Convention Center, the National Association of Music Merchants celebrated its 125th anniversary by bringing together over 1,800 exhibitors to showcase the latest innovations in musical instruments, pro audio, and recording technology.

NAMM is the world’s largest music products trade show, serving as the annual gathering place where manufacturers, retailers, artists, educators, and music industry professionals converge to unveil groundbreaking products, forge business relationships, and set the tone for the year ahead. The show floor buzzed with major announcements from industry heavyweights, including Fender, Gibson, Yamaha, Martin, Neural DSP, and countless others.

Now, while many of the products unveiled at NAMM 2026 won’t officially launch until later this year, a significant number are already available for purchase right now, allowing guitarists to get their hands on the latest gear without the wait. Below are our top picks for products up for grabs right now!

Neural DSP Quad Cortex Mini

Like the rest of the guitar community, we’ve been waiting for this one a long time, and Neural DSP absolutely delivered. The Quad Cortex Mini just dropped, and it’s easily the company’s most exciting release since the original Quad Cortex shook up the entire modeling world back in 2020.

This is the pint-sized powerhouse guitarists have been begging for since day one. Neural DSP took everything that made the flagship Quad Cortex legendary, that gorgeous touchscreen, insane processing power, and intuitive UI, and somehow squeezed it into a pedalboard-friendly format that won’t dominate your entire rig.

It’s fair to say the original Quad Cortex changed everything. It kicked off an all-out modeling arms race that’s still going strong, with everyone from Fender and Line 6 to IK Multimedia and Fractal scrambling to keep up. The bar was set impossibly high, and now Neural DSP just raised it again with a mini version that doesn’t compromise on what made the original so special.

The best part? You don’t have to wait. The Quad Cortex Mini is available to buy right now at multiple retailers, so you can get your hands on one immediately.

Yamaha RS02CB Chris Buck Signature

Yamaha made some serious waves this year, and one of the standout announcements came from Revstar devotee Chris Buck. For those who don’t know, Buck was a die-hard Strat player for years before the Revstar completely won him over, and now he’s got his own signature model. With the RS02CB, Chris puts his personal stamp on what’s already one of the most compelling guitars in Yamaha’s lineup.

So what made Buck fall so hard for the Revstar in the first place? “I just loved the idea of the Revstar being a new guitar,” he explained. “It wasn’t an S type, it wasn’t a T type, it wasn’t a Les Paul, it was its own thing, and just such a simple, ergonomically kind of attractive guitar – three-way switch, master volume, master tone, two pickups… boom, you’re away.” That simplicity and originality clearly resonated, and now his signature model takes that philosophy even further.

Designed in collaboration with Buck himself, the RS02CB strips everything back to what really matters: refined feel, natural response, and effortless playability. It features a stunning signature “Honey Gold” finish, custom inlay work, and custom-voiced YGD P90 pickups that deliver Buck’s exact tonal vision. Yamaha rounded out the package with a TonePros wrap-around bridge, amber hat knobs, and the classic 3-way blade switch with master volume and tone controls.

Laney Billy Corgan Supergrace

Laney teamed up with Chicago amp wizard Brian Carstens for this one, the guy behind those killer Grace heads that Billy Corgan uses for his crushing live tones. Corgan’s been running those Grace amps alongside a reissued Laney Supergroup for his cleaner stuff, so this collaboration was basically a match made in rock heaven.

The result? Meet the 60W Supergrace, a two-channel beast that brings together the best of both worlds. The Grace channel delivers that high-definition distorted sound you hear on Corgan’s heaviest riffs, super responsive to your guitar’s controls, and loaded with a three-position Bright switch to dial in exactly the bite you’re after.

Dunlop Iron Maiden Killers Cry Baby

Iron Maiden’s guitarists have been cranking out wah-drenched solos since forever, so it only makes sense that they would do a signature pedal - but we didn’t expect it to look so damn cool! This collector’s edition Cry Baby, complete with Killers-era Eddie plastered right on top, is a must-have for Maiden die-hards.

Under that badass embossed tread plate, you’re getting what’s essentially a souped-up GCB95 Cry Baby Standard Wah. No fancy extras or modern tweaks here, just the classic wah tone that’s made this pedal a legend for decades.

And honestly? That’s the point. This is all about celebrating that timeless sound while looking absolutely killer doing it. The full Killers artwork covering the bottom plate and the Iron Maiden logo running down the side are chef’s kiss details for any fan.

Revv Dirt Dog Joey Landreth Signature Overdrive Pedal

Meet the Revv Joey Landreth Dirt Dog, a pedal that’s absolutely packed with sweet, harmonic overdrive goodness. Revv teamed up with Winnipeg slide guitar wizard Joey Landreth to create something that matches his killer playing style and ridiculous musical chops, and boy, did they nail it.

The Gain and Bite controls give you an insane range of tones, from subtle, buttery overdrive all the way up to that soaring, singing sustain that makes you want to hold notes forever. The touch sensitivity feels like you’re plugged straight into a cranked amp, with your picking dynamics coming alive and exploding when you dig in hard.

NAMM 2026: British amp firm Blackstar has unveiled new Artist FR Standard and Artist FR Special cabs that aim to give amp modeler users a realistic, tube amp-like response.

The Headrush has held the FRFR speaker throne for a little while now. So, could Blackstar's one-two give it some stiff competition?

The two full-range, flat response (FRFR) cabinets are designed for neutral-sounding amplification, allowing the cab sims and impulse responses of a player’s digital rig to provide the tonal clarity, with the FRFRs adding volume and a responsivity akin to a traditional setup.

Blackstar’s mission statement here is twofold: modeler users value compact form factors, and the brand also aims to make the often unfamiliar world of FRFR speakers easy to understand and approachable, regardless of previous experience.

The dynamic duo is built on Blackstar’s history of cab building and power amp tech, and are intended to be paired with its new ID:X floor units, and other similar competing units like the Quad Cortex and Tone Master Pro.

They feature a custom-designed flat-response 1x12 speaker, built to thrive with digital tone platforms, for articulate responses. There’s also a whizzer cone that supports high frequencies, maintaining definition even when a rig throws that kitchen sink at its output channel.

Opposed to traditional cabinets, which these are essentially standing in for, there are a few onboard controls for getting things just right. There's a Volume, three-band EQ, and Presence dial on both models. The only difference between the two is what’s under the grille.

The Artist FR Standard is the more compact of the two, delivering 50 watts of power, while the Artist FR Special has greater headroom and “stage authority,” and twice the power. Weighing 10.72kg and 13.5kg and measuring 461 x 387 x 230mm and 525 x 447 x 245mm respectively, they marry the streamlined portability and pulling power of modelers.

With this being Blackstar, prices are pretty affordable. The Artist FR Standard comes in at $399, and the Artist FR Special costs $469. That means if players were to go full Blackstar, they could pair either with the more premium ID:X Floor Three (at $399 apiece) for a versatile modern rig with tube amp responsivity for comfortably under $1K.

But of course, for people already converted to the amp modeler sphere, these new FRFRs could be valid companions for existing products, helping bridge the gap between traditional and more futuristic rigs.

“With the Artist FR series, Blackstar has created FRFR cabinets that are still compact, practical, and financially realistic while still delivering the familiar feel, responsiveness, and physical reassurance guitarists expect from an amplifier,” it says.

“These new models bring professional full-range performance into formats that look, behave, and inspire like real guitar gear, making them a natural partner for the latest generation of modeler-based rigs.”

See Blackstar for more.

NAMM 2026: Roland has introduced its latest battery-powered PA solution, with “class-leading tools” designed for gigging musicians and street performers alike.

Thanks in part to Ed Sheeran’s meteoric rise from busker to stadium filler – and subsequently launching his own street performer PAs – there has been a fresh emphasis put on the portable PA market in recent years. Roland, with the Cube Street Mini, is maintaining that momentum.

Its dinky, easy-to-carry size and battery-powered draw – via an onboard rechargeable battery with a seven-hour playtime – effortless setup, and “intuitive” control panel are the headline features.

It's been designed to handle multiple instruments, with an onboard dial for a more dedicated tonality via modes for acoustic guitars, keyboards, electric guitars, and vocals.

There are also instrument controls for Volume, Tone, Reverb/Chorus/Delay, and separate Volume, Tone, and Reverb/Echo dials for microphones specifically – plugged in via XLR or TRS – allowing singer-songwriter types a more personalized mix.

A built-in tuner and Bluetooth connectivity for streaming backing tracks are also handy additions, as Roland looks to meet the needs of both solo and duo performers.

Those specs would mean very little if the amp itself didn’t sound good, which is why Roland has opted for wide projection via a high-headroom amp that leverages two tweeters and a five-inch speaker.

Understanding that not all buskers are lucky enough to call Miami Beach their stomping grounds, it's built with strong, water-resistant material for performing, come rain or shine.

The fact it can be mounted atop a mic stand is a handy bonus, while the rugged CB-MBC1 carry case, meanwhile, is an optional extra.

“With its convenient size and onboard battery power, the Cube Street Mini provides a great-sounding, all-in-one PA wherever users want to perform or practice,” says Roland.

“It builds on the trusted Cube Street legacy, delivering exceptional sound quality and features in an ultra-compact PA for cafés, small-scale events, and personal studios.”

The Roland Cube Street Mini costs $199.99.

Check out Roland for more.

NAMM 2026: Silvertone, a brand with its roots in the beginnings of affordable electrified guitar playing, has revived its 1446 semi-hollow electric, one it humbly calls “one of the most recognizable guitar models in rock history.”

Chris Isaak, Elvis Costello, and Chicago blues stalwart Hubert Sumlin are just three high-profile players to have had love affairs with the semi-hollow, and here it returns, for the first time in decades, with “every detail that made the original a legend,” and some choice, modern-minded thoughtfulness.

The guitar was first available to order from the Sears catalog – where Paul Gilbert, Steve Cropper, and Bootsy Collins began their journeys – between 1961 and ’67. Now, its original “2×4 lumber” neck profile has been re-engineered, delivering a modern-taper soft C-shape, while a chambered center-block maple body improves sustain, reduces feedback, and bolsters its dynamic range.

Built to a 24.75” scale length, the newly sculpted necks are made with mahogany and capped with rosewood fingerboards with “state-of-the-art Semi-Hemispherical frets,” said to offer a smoother-than-ever playability

Reflecting its older specs, there are two versions being introduced. The 1446V, given a smart Black colorway, has a genuine Bigsby B70 vibrato tailpiece and TOM bridge with roller saddles. The 1446T, meanwhile, which gets Black and Tobacco Sunburst finishes, has a Trapeze tailpiece.

But, where modern changes have been understandably employed, its electronics pay tribute to the original guitar’s “vintage mojo.”

Its P19 mini humbuckers were designed exclusively for Silvertone by Seth Lover, the man behind some of Gibson’s most famous ’buckers. They featured a three-by-three pole piece design and a lower-wind voice, and that legacy has been carefully reprised with the help of Trev Wilkinson this time around. So, expect clarity, warmth, and “harmonic glide” from these revived instruments.

“Wilkinson’s R Series mini-humbuckers are exacting, era-specific recreations featuring custom tooling, period-correct Alnico V magnets, and carefully matched winding,” says Silvertone Product Manager, Rick Taylor.

“When you pick up this guitar, you immediately understand why the original became such a cult classic,” he adds.

“We set out to deliver the soul of the ’60s 1446, but with the playability and reliability modern musicians expect. Whether you’re chasing that famously haunting Wicked Game intro or carving out a completely new sound, the new 1446 gives you inspiration from the moment you plug in.”

In keeping with the guitar's heritage, they're not bank-breakers either. The 1446T models are priced at $799, with the Bigsby-laden 1446V bumping up to $999.

Check out Silvertone Guitars for more.

NAMM 2026: British amp builders Laney may sound hyperbolic when it says that it is bringing forth “the new standard in bass preamps,” but considering it has worked with Nathan East, the most recorded bass player in history, to bring its new piece of gear to life, it might have a point.

The Laney DB-EAST-PRE is a preamp handcrafted in its English factory, and thoroughly put through its paces by Nathan East every step of the way. From touring and recording with Eric Clapton for over 40 years, to tracking that bassline on Get Lucky, his unscrupulous ear for gear has helped define this beast's key features.

Its backstory takes us back to Laney’s Digbeth DB500H bass amplifier, which East began using in 2023. That led to the birth of a signature head, the dual-input DB-EAST, last year, and that “unprecedented flexibility” has been transferred into this smaller, but no less powerful, version.

So yes, the dual inputs remain vital, offering working bassists the ability to switch between sets – whether that means swapping acoustic for electric, four-strings for five, or going from passive to active pickups – with two pre-dialed-in outputs ready to accommodate those changes. Input two even includes a trim pot for precise level matching in those exact scenarios.

“I usually play electric and upright bass at gigs, so I have an input and output for each, and the front of house engineer can have a different signal for each instrument,” East explains. “They're independent, and I can balance the volumes of each, so they're always matched for the stage.”

Control-wise, the Master Volume control helps reshape the amp's characteristics, the Tube channel can be EQ-ed to the nines, and the Range dial adds bottom end to its overdrive. There are also selectable mid pre-shapes for even more precise tone sculpting, and a Tilt switch for a little more bottom or top end without compromising the overall EQ.

It is designed, quite naturally, to be a travel companion too. Loaded with East’s favorite impulse responses, including IRs from hit record rigs, a partner app allows users to customize DI output; it's ready to shape itself for any room and any occasion. Small enough to fit onto pedalboards, it’s ideal for those looking to streamline their setups.

“The Digbeth amp was loved at first sight,” East says. “We ended up taking it down to the Royal Albert Hall, and played a concert with it [with Eric Clapton] the following night.

“The DEB-EAST-PRE is a preamp with all the goodies in it. It's a total game-changer again. There's a lot of information packed into this little box.”

The Laney Digbeth DB-EAST-PRE is available now for $429.99.

Head to Laney for the full details

NAMM 2026: When Cory Wong’s signature Music Man StingRay II was unveiled at last year’s NAMM, the self-professed “Strat guy through and through” asserted the guitar was born out of his need for a humbucker-equipped option “that can do everything the Strat doesn’t do.”

Wong's vision proved to be a winning recipe, and now, Sterling by Music Man is offering a more affordable version coming later this year.

Developed in collaboration with the Vulfpeck guitarist, the Sterling by Music Man StingRay II features a roasted maple neck (as opposed to its pricier sibling's roasted figured maple neck), a rosewood fingerboard, locking tuners, an enlarged headstock, and an oval-shaped pickguard inspired by the iconic StingRay bass body.

Much like the Music Man version, it comes fully equipped with HH pickups – although it isn't yet clear whether they're also the custom-designed Cory Wong HT humbuckers – and a 3-way toggle switch for a “dynamic, versatile tonal response.”

There is also less variety in terms of the colorways – with dark blue and silver offered as the only two variants (the official names haven't been revealed yet), but, for $749.99, you get a lot of guitar for the more conservative price.

In addition to Wong's signature model, Sterling by Music Man is rolling out the brand's first-ever baritone guitar. Featuring a 27.5” scale, 24 frets, and B-standard tuning, this all-new model promises to deliver “a deeper low-end presence within the StingRay lineup.”

Other specs include a roasted maple neck and rosewood fingerboard, vintage trem, locking tuners, and two ceramic humbuckers for tonal firepower galore. Offered in an attractive Toluca Lake Blue, the StingRay Baritone (SR50) is available now for $849.99 from trusted partner retailers.

For more information, head to Sterling by Music Man.

And, speaking of the Sterling by Music Man lineup at this year's NAMM, the brand has also unveiled scaled-back versions of former All That Remains guitarist Jason Richardson's signature Cutlass.

NAMM 2026: ESP Guitars has unleashed eight new signature guitar models into the world, promising something for everyone, as late greats and artist debutants are celebrated – while its mid-priced LTD Deluxe 1000 Series guitars are touted as “among our best in history.”

In 2025, the ESP portfolio was dominated by single pickup builds, a theme that Gojira’s Grammy-winning riff monster Joe Duplantier has continued into the new year, but there’s a tentative balance between honoring the past and looking to the future across its wider signature series this time around.

Top of the tree in that respect is the LTD Alexi Laiho Arrowhead and Sawtooth SE models, which mark 20 years since the late Children of Bodom virtuoso – a player still highly revered in the metal guitar scene – started his relationship with ESP.

Looking as sharp as ever, the pointed, subtly uneven V-shaped axe sports a black finish and a choice of white or yellow beveled speed stripes. Its three-piece maple neck-thru-body construction with a Thin U profile, Macassar ebony fingerboard, and scalloped frets from the 19th to the 24th position are in place for lightning-quick playability.

The 25.5” scale electric guitar also has a Floyd Rose trem – it would be criminal to have anything else – Grover tuners and, you guessed it, just one pickup in the form of an HZ F-H2 passive humbucker with Volume control.

Another gone but fondly remembered guitar hero, in Slayer’s Jeff Hanneman, is also remembered via the LTD JH-200 CTM. The Super Strat gets an alder body, a Floyd Rose Special trem with whammy bar, a pair of high-output ESP LH-301 ‘buckers, and red star inlays.

Conversely, Joe Duplantier isnt’t the only Signature Series debutant in 2026, with Slaughter to Prevail’s Jack Simmons also welcomed into the family.

The LTD JS-7 Baritone features a V-shaped body, neck-thru-body construction, 24 extra-jumbo stainless steel frets, a Graph Tech TUSQ XL nut, Hipshot 7 hardtail bridge, and Fishman Open Core Modern pickups. With a 27” scale, the elongated V looks deadly and is tailored for tunings lower than the Mariana Trench.

The series is rounded out by new models from old faithfuls. Slipknot’s Mick Thomson has opted for a streamlined, mahogany-bodied S-type with a Hipshot Hi-Mass hardtail bridge, blue Luminlay side markers, and his signature Fishman Fluence pickup for his LTD MT-I.

Deftones’ Stephen Carpenter has built on a bumper 2025 with the LTD SC-607 Baritone that marries mahogany, maple, and ebony tonewoods, his signature Fishman Fluence pickups in the bridge and middle positions, and TonePros Locking TOM trem.

Meanwhile, ’80s shredder supreme George Lynch gets a stripped-back version of his distinctive 1985 Kamikaze guitar, complete with a “hockey stick” reverse headstock headlines, basswood body, Floyd Rose Special, and ESP-branded HS pickup configuration.

Away from signatures, the LTD 1000 Series is defined by a mission statement of “versatile tones, smooth playability, and complete reliability,” and there's plenty of variety as twin-pickup builds regain dominance.

From the TH-1000 Evertune, which boasts a swamp ash T-style body, Seymour Duncan's new multi-voiced MortalCoil pickups, and an Evertune bridge, to the ARROW-1000, a shark fin-esque V with Fishman Fluence Modern humbuckers and a built-for-speed profile, diversity is vast.

Other choice picks include the LTD Deluxe RS-1000, rocking its X-like Random Star silhouette with the classic EMG 81/85 pickup combo and a Floyd Rose 1000SE, the EC-1000, a Granite Sparkle-finished single cutaway LP with a classic mahogany/maple/ebony tonewood cocktail, and a Fishman pickup and hardtail-laced offset via the LTD Deluxe XJ-2HT Snow White.

ESP’s affordable Epiphone/Squier equivalent brand, LTD, is also celebrating its 30th anniversary in 2026.

With models like the LTD Arrow-400, single cutaway LTD EC-400 QM with a quilted maple top, and the simple but effective T-style LTD TH-400, all of which arrive with EMG 81/85s and other tidy specs for sub-$1K prices, it continues to offer plenty of value for money.

See ESP for more.

NAMM 2026: Sterling by Music Man has announced affordable versions of Jason Richardson’s Cutlass signature guitar, arriving in six- and seven-string formats, without overly sacrificing its top-line specs.

The former All That Remains guitarist launched his Music Man signature in August 2024, with the modern virtuoso-tailored axe benefiting from newly designed humbuckers that had “decades of guitar string research” poured into them, a custom-contoured lower horn, and a rather stunning Kokiri Forest. And yes, that’s a Zelda reference.

Being a Music Man, its $3,599 / $3,799 price tag – depending on the string count – was no surprise, but by no means accessible to all. That makes the Sterling variant’s arrival much anticipated.

And, as it has proven with Rabea Masdaad’s price-skimming Sterling models, it looks to have tweaked the Music Man recipe without too much compromise, resulting in a more broadly welcoming $949.99 outlay.

Like its more expensive older sibling, it sports an alder body, though its buckeye burl top is usurped by a poplar burl alternative, while retaining its double cutaway and cosy contours.

Elsewhere, its five-bolt figured roasted maple neck is now made from roasted maple instead. It is crafted with a shred-friendly 16” radius, and capped with a rosewood fingerboard as opposed to ebony, with 24 medium jumbo frets and white dot markers. However, there’s no mention of the frets being stainless steel, meaning they are likely nickel instead.

The pickups, of course, were always going to be reassessed with a view to scraping a cool few grand off the RRP. While the ones in this model are billed as simply being Sterling by Music Man-Designed JR humbuckers, Richardson was still hands-on in shaping their voicing, so they should still offer a similar bark and bite.

Push-push features – which can be far easier to engage on the fly than push-pull – for both split coiling and injecting a 12dB volume boost into the mix, also help bolster the guitar's versatility.

All that transpires into a very similar guitar, save for some slight scaling back on the more premium, price-bumping features, like its Custom Music Man floating tremolo, now just a Sterling Modern Tremolo, and its Schaller M6-IND locking tuners replaced by own-brand equivalents.

Aesthetic options are just as various, too. Choose from Pearl White, Dark Scarlet Burst Satin, and that aforementioned Kokiri Forest for your colorways, but note that it does not ship with a gig bag.

While an eight-string version of Richardson's Music Man has also arrived at NAMM 2026 – only the second of its kind after John Petrucci’s signature – the Sterling by Music Man Richardson brings his world of fast paying and tonal versatility to a larger audience.

It’s one, the firm says, that is “designed to meet the technical demands of Jason Richardson via a hyper-ergonomic approach to the Cutlass platform.”

Head to Sterling by Music Man for more.

NAMM 2026: Aiming to move beyond one-trick guitar pedals, Polyend has unveiled the Endless – a fully customizable, open-source effects pedal that allows players to continually create new effects with no coding required.

Hinging on an almost ChatGPT-like premise of “if you can describe the effect, you can make your own,” Endless boasts a custom-machined aluminum enclosure, magnetic, swappable faceplate, a stereo 48 kHz / 24-bit audio path, and, apparently, no sonic limits.

With the rise of tech like amp modelers and generously equipped plugin suites, many contemporary players are chasing more versatility from their gear than ever before – a trend reflected in TC Electronic's Swiss army knife pedal, the Plethora X1, and Boss's convertible Plugout FX. Endless aims to carry that torch even further.

In short, it's the first pedal to spew out effects from user-generated descriptions, with reverbs, overdrives, and loopers all available, right through to amp sims, or something that colors outside traditional lines.

The real creative fun takes place on its text-based generation platform, Playground, which remains in beta testing at the time of its launch. It's already populated with a slew of community-made effects, and it will continue to grow. Patches can easily be added via USB.

Some standout effects already on hand include the Multidrive, described as a multiband drive with selectable bands and multiple drive modes, the Tessera, which transforms a signal into micro-looping arpeggios, a lo-fi tape delay in the Tape Scanner, and 65’ Sparkle, an amp simulation tuned for “edge-of-breakup sweetness.”

That library is currently free to access, but there’s a token system for purchasing custom effects. To get started, Endless purchasers will get $20 of credits.

If coding is your bag, users can get really granular in C++, and the Polish firm has also released a GitHub SDK with examples to make things even easier.

The pedal itself features a trio of aluminum knobs that holds dominion over a variety of functions, and two footswitches for on/bypass and one that’s freely assignable. Its swappable faceplate system, meanwhile, doubles down on the pedal’s unbridled personalization. A blank faceplate comes in the box, and new ones can be ordered, or players can print their own.

There’s also a multicolored LED light that changes state based on the left switch’s short/long latch. Its inputs are side-mounted, and there's expression pedal capability to boot.

Considering its potentially limitless scope, its $299 / €299 asking price – with shipping beginning February 22, 2026 – isn’t crazy money.

“Endless doesn’t place limits on what you can build,” says Polyend. “Create and share effects that can’t be found in another pedal, and access an effect library that is growing daily.”

Now, you may have noticed that the love-or-hate buzzword of ‘AI’ hasn’t been mentioned here, and that’s because it simply isnt’t uttered in Polyend’s press material, but that is ostensibly what we’re looking at.

Still, if the tech works effectively (pun intended) and the pool of user creations continues to grow, it could stand as the first in a bold new era for stompboxes. Or is it just a passing fad?

See Polyend for more.

NAMM 2026: Gibson has revealed what it has in store for its wallet-friendly Epiphone guitars throughout 2026, headlined by a Futura range that's ready to take the brand into “a new era.”

By Gibson’s own admission, it is regularly “inspired [by] our history,” but nostalgia is just 50% of the Epiphone recipe this year, as far as its Futura range is concerned. It “takes the most iconic Gibson body shapes and remixes them with modern, professional-grade features at a price point for every player.”

Aesthetics play a big part here, as it draws from the automotive industry for inspiration. There are Chromashift finishes that change color in real time, with premium features like stainless steel frets, which make their long-awaited Epiphone debut, and compound radius fretboards to bolster their specs.

Electronics haven’t been ignored either. They get ProBucker Ignite pickups, which are extra-hot passive humbuckers, and push-pull knobs for single coil spank on the fly, which conspire to “deliver the feel and fire to match,” ensuring players can get plenty of bang for their buck.

It’s a shrewd move from Epiphone. As competition in the budget guitar market is arguably fiercer than it’s ever been, the Futura range ensures its lower priced Epiphone models can persuade many to choose the company's electric guitars over, say, Harley Benton, by offering more than just stripped-back versions of Gibson mainstays. Expect them this spring.

The theme of value-for-money transfers over to its Inspired by Gibson range, too. The series was established to bring the “premium feel and performance” of Gibson guitars, via Custom Shop features, to lower price points like never before, with vintage icons like the 1959 Les Paul Standard, and a far more affordable version of a new classic, the Les Paul Special Double Cut Figured, on the menu.

There’s also an Explorer 80s EMG model, complete with control knobs in a triangular formation and, as the name suggests, high-output EMG humbuckers – reviving a cult classic. Sadly, though, we’ll have to wait until the winter for their launch.

Signature guitars aren’t limited to Gibsons, either. While a limited-edition run of Gary Clark Jr’s custom-made ES-335 has been confirmed, so too has an Epiphone version, set to follow closely behind.

There’s also a Gibson Custom Shop-inspired Alex Lifeson ES-355 reissue – celebrating “Whitey,” a workhorse guitar that has featured on virtually every Rush record in one way or another – and an all-new axe for Lzzy Hale.

The Halestorm songstress, who dropped a white-and-gold Epiphone Explorer in 2019, is back with a far more glittering visage. It rocks a standout sparkling finish, a chrome pickguard, and pickup covers to match for its twin humbuckers.

“[The Hale Explorer] is just eye-popping and so cool,” a smiling Gibson VP of Product, Mat Koehler, told Guitar World on the NAMM floor. No kidding.

See Gibson for more.

NAMM 2026: Gibson is celebrating 50-plus years of building electric guitars out of its Nashville, Tennessee headquarters with its 2026 roster, while simultaneously honoring “the blood, sweat, and tears” that have gone into their creation.

Founded in Kalamazoo, Michigan, in 1894, the firm relocated to Music City in 1975, and it says it's arrived at NAMM 2026 with “a powerful statement of innovation, craftsmanship, and artist-driven purpose.”

That translates into brand-new acoustic and electric models, a glut of signature guitars of all shapes and sizes, and cut-price access to one of its most celebrated pickup designs.

’50s- and ’60s-inspired Gibson Custom

It’s a three-pronged launch for Gibson Custom, as ES-330 reissues, ’50s- and ’60s-inspired ES-330s, and Les Paul Studio Double Trouble models rear their headstocks.

The ES-330, a thinline hollow-body electric guitar with twin f-holes, makes its Gibson Custom return after eight years in the dark. Saddled with P-90 pickups, which are having a bit of a glow-up right now, there are 1959 and 1962 ES-330 reissues, both of which are handcrafted by Gibson’s Nashville-based artisans, with “two distinct flavors in vintage-inspired colorways.”

Its center-block-loaded brother, the ES-335, also gets a look in, with these versatile guitars built using the same ES laminate press as the '50s and '60s originals they're inspired by. Again, vintage-inspired colorways feature, alongside a host of period-correct details, including their plastics, neck shapes, and pickups.

Both the ES models will be released in summer 2026.

Gibson Les Paul Studio Double Trouble 

After Gibson brought the Les Paul Standard ‘50 and ‘60s Double Trouble models to market last year, to much excitement, they’re now getting a Gibson Studio reimagining.

They’re based on the streamlined Les Paul Studio platform, but still feature Double Classic White Burstbucker Pro pickups with coil taps pre-loaded for snappier sounds. That’s a move that brings the celebrated pups to a record-low price point of $1,599, which is pretty big news.

The Double Troubles are coming in spring.

New signature guitars for vintage virtuosos and next-gen magicians

Gibson’s signature guitar range across 2026 is as much about honoring established legends as it is about celebrating those taking the electric guitar into the future.

That one-two is perfectly exemplified by a meticulously recreated Mick Ronson 1968 Les Paul Custom, for David Bowie’s late great foil, and a “soulful” new Gibson Custom ES‑355 for the Eric Clapton-approved Gary Clark Jr. It will be a limited edition run of the guitar he had custom-made for him six years ago, and a cheaper Epiphone model will follow.

As was teased by the former UFO and Scorpions man last year, there’s a reissue of the Michael Schenker 1971 Flying V, and yes, it’s got his trademark Black and White, Beetlejuice-esque Medalion colorway.

And at long last, a signature LP for Lamb of God’s Mark Morton is on the way. The Les Paul Modern Quilt has been thoroughly road-tested by the riff monster for several years now.

Legacy acoustics

For its new acoustic guitars, we’re headed 100 years into the past. The Gibson Century Collection serves up “a sound you can feel in your bones,” in light of the 100th anniversary of its flat-tops.

The guitars harken right back to then, with the no-frills 12-fret instruments “channeling the minimalist elegance of early 20th century design,” and an intimate playing experience. They’re expected in spring.

There’s also the return of the Gibson L-1, which was first introduced in 1902 and reinvented as a flat-top in 1926. An instrument that “has an indelible link to the blues,” it is limited to a 100-strong run and arrives with a Cremona Burst lacquer finish.

Its thermally aged red spruce top is partnered with mahogany back and sides – another historic 12-fret construction – and a 25” scaling, a bound ebony fingerboard, and a mother-of-pearl script headstock logo.

Honoring the craft

In 2026, Gibson says it wants to celebrate the people behind its guitars as much as the instruments themselves.

“We want to tell the handcrafted element of this, which is all of the work, the blood, sweat, and tears that go into these guitars,” Gibson's Mat Koehler tells Guitar World at NAMM 2026. “These are not guitars that go into machines that spit out guitars; they start as trees, and are finely crafted instruments.

“There are so many great stories within our crafteries, and that's going to be a huge focus for us this year – to finally start telling not only the stories of how the guitars are made, but the people behind them.”

There’s a lot of information to take in, then, but there’s also a lot to celebrate. With Gibson making inroads in Reverb’s best-selling guitars list of 2025, could this new collection improve its footing further still?

• Correction: January 24, 2026 – This article was updated as it initially incorrectly listed the Double Trouble Les Pauls as Gibson Custom, not Studio line, products.

NAMM 2026: Ibanez and Polyphia virtuoso Tim Henson have reprised their successful partnership with two new versions of his immensely popular electric-nylon signature guitars.

The TOD100N and TOD100FMN come waltzing with new Fishman pickup systems, tonewoods, and looks, looking to go one better with this next generation of guitars.

Henson’s first signature nylon-string electric acoustic, the Ibanez TOD10N, arrived in late 2022 and was crowned Reverb's best-selling acoustic of 2023.

It's since started a nylon-string revolution, with Tosin Abasi's namesake brand now throwing its hat into the ring with a jaw-dropping seven-string electric nylon. It’s clear the Ibanez-Henson partnership wants to remain ahead of the curve with this drop.

Cue upgraded electronics with the TOD10N's Ibanez AEQ210TF preamp ousted in favor of a Fishman Acoustic Matrix undersaddle pickup – prevalent across both new models – while sapele back and sides are replaced with okoume, a mahogany-like tonewood commonplace across the Ibanez range. The new pair is distinguished by their tops. That’s solid Sitka spruce for the TOD100N, and flame maple for the TOD100FMN.

It's not a complete refresh, however. Its rosewood binding and its C-shape nyatoh set-in neck survive the revamp, while its 22-fret fingerboards, decorated with Henson's gorgeous Tree of Death inlay, are now made of ebony, which comes in for rosewood.

That's the same tonewood trade for its bridge – rosewood out, ebony in – while both guitars share the same fan bracing and chambered body designs and come with D'Addario XTC45 strings, as opposed to Henson's signature set from Ernie Ball.

There’s no mention of price at the time of writing, but it would be surprising if they dwarfed the circa $700 price tag of its predecessor, which also got a left-handed release in July 2024. That means we might be looking at a similar wait for left paw-friendly models.

“I wanted an acoustic guitar I could play more technical riffs on with the same ease an electric guitar would provide,” Henson told Guitar World of the guitar's conception.

“I was extremely impressed with the craftsmanship, especially in comparison to its predecessor, the SCN500. It was a lot lighter and felt a lot more ‘alive,’ as it has a chambered body. The TOD10N uses Ibanez’s FR shape, so imagine a hollowed-out version with a classical headstock.”

The nylon-string beauty has been a barnstormer, with new editions more than welcome. But the wait for the previously teased Tim Henson eight-string electric goes on.

Keep your eyes on Ibanez for more information in due course.

NAMM 2026: The tube amplifier might be driven by a technology that was developed in a bygone era, but that doesn’t mean that the more radical ideas coming out of R&D departments are all digital. Divided by 13 Amplifiers and Butch Walker’s new signature collaboration is proof of that.

In one sense, Walker’s signature guitar amp, the BW 1969 head, which can be paired with Divided by 13’s 2x12F cabinet, is born of old-school tastes.

The name all but gives it away. Walker, himself, admits, this is a guitar amp voiced for the seminal electric guitar tones coming out of the UK in the late ‘60s, through ‘70s and ‘80s (though Divided by 13’s tasting notes also mention an American voicing).

But the BW 1969 does something quite different to your common or garden variety head; it has not one but two power sections, each running independently, both selectable, that you can ultimately combine should the mood take you.

One of these power sections features a pair of EL84s running cathode bias at 18-watts gives you “speed, harmonic complexity, and immediacy” – much like a good cup of coffee – while the other power section, tooled up with a pair of 6L6s in fixed bias, is there to be your no-messing, rock-solid low-end, and 45-watts to play with.

Altogether, that’s 63-watts, and we’re talking tube-watts, so lots of volume to play with. And as Walker’s brief but revealing demo on Instagram reveals, this amp is more versatile than you might think (it’d need to be, when you consider the stylistic peregrinations Walker has embarked upon in his music/production career).

It has a six-position input gain dial for adjusting the response and voicing on the front end of the amp.

There is a three-position toggle for selecting the power section – EL84, 6L6, Both – and a set of controls that speak to the simple things in tone-seeking, Presence, Master, Gain, plus the three amigos, Bass, Middle and Treble.

There’s no reverb or anything like that. Divided by 13 says it didn’t want to complicate things unnecessarily. There is, however, a push-pull Bright switch on the Treble dial. And, come on, it’s 2026, we have a tube-buffered effects loop out back so you can integrate your pedalboard with no dramas. That, too, has a Bright switch and defeat (bypass) switch.

The cabinet is worth mentioning here, too, because we have a pair of Divided by 13 454 guitar speakers in there, a Celestion-built variant of the 40-watt Greenback that is voiced to complement the amp with “clarity, compression and headroom”.

You can get it in Ivory or Black vinyl finishes. All amps are point-to-point wired in the USA. This is a boutique, high-end electric guitar amp, so expect the price (when we get it) to reflect just that.

Find out more at Divided by 13 Amplification.

NAMM 2026: Fresh from unveiling new signature pickups with Seymour Duncan, Slash has added to his collection of signature Magnatone gear with the Lil’ Viper, a lightweight amp with a size-defying sound.

The top-hatted shredder left many aghast when he ditched Marshall for the lesser-known Magnatone brand in 2023 after being “blown away” by its tube amps, and the relationship has gone from strength to strength since, while his Marshalls remain part of his wider rig.

The newcomer, the Lil’ Viper, is small in size only. Following the digital modeler trend of getting big sounds out of small footprints, this is a compact 8-watt combo amp fueled by a 12AX7 preamp tube and a pair of NOS 6AQ5 power tubes.

That results in 8 watts of push-pull Class AB output, which comes hurtling out of a Magnatone Custom 8” ceramic magnet speaker. For added versatility, there’s a High/Low gain switch that gives players two distinct voicings for when they want to dial back and dig in, respectively.

At Slash’s request, a speaker-emulated 1/4” headphone output had also been airdropped in. It mutes the internal speaker when in use without any tonal compromise. And with just three controls, for Gain, Tone, and Master, it really cuts straight to the point.

Additionally, players will find a 1/8” line input for playing along with backing tracks, and it gets a Purple Python aesthetic, which oozes classic rock swagger, alongside a backlit Magnatone logo and gold-accented control panel hardware, and a Chevron on its grille.

“I’m not exaggerating when I say this is the most kick ass amp of its size I’ve ever heard,” Slash purrs. “It kicks the ass of amps three times its size.”

“Slash wanted a big-sounding backstage solution, so we worked together to create a big amp in a little box,” adds Magnatone President & CEO, Ted Kornblum. “Low Gain is a classic, slightly broken-up gain architecture. High gain is a modified type of saturation tone.

“While it may be the smallest amp in the Slash collection, the Lil’ Viper really delivers a surprisingly big sound that stands up proudly to its bigger brothers in the collection.”

The Magnatone Lil’ Viper is available exclusively in its delicious Purple Python garbs and is priced at $1,899. That's a lot of buck, but then again, it's supposed to have a lot of bite.

See Magnatone for more.

NAMM 2026: Suhr Guitars has unveiled its line-up of electric guitars for 2026, including a debut signature guitar for Good Charlotte linchpin Benji Madden, two new signatures for Pete Thorn, and more of its OSO short-scale models

Madden’s new axe is the headline act, having switched to the brand after becoming “obsessed” with its guitars over the past few years. An influential figure in the rise of 2000s pop-punk, Madden was previously signed to Music Man, releasing a signature with the band at the height of their powers in 2004.

Speaking to Guitar World last year, he says a growing love of vintage guitars inspired the switch, comparing the brand’s builds to “old cars.” And, as he hinted back then, his new T-type signature model hinges on a simplistic setup, with twin P-90 pickups as its beating heart, and what looks to be a roasted maple neck.

Beyond that, there are signatures galore, and a heavy dose of Telecaster silhouettes, with models for Big Wreck's Ian Thornley and genre-fluid maverick Andy Wood, building on the Classic T template in various ways.

Lady Gaga's shredder-in-chief, Tim Stewart, has done likewise, but also adds a rather fetching all-black offset to the mix, which has been featuring on the Mayhem Ball tour in recent months.

Thornley's 2026 signature features a natural-look finish and a versatile twin humbucker design, with four controls for, presumably, dominion over the Volume and Tone of each pickup. The Andy Wood model, while also armed with double ’buckers, looks decidedly more modern, coming in contrasting Red and Blue colorways.

It's Pete Thorn, recently recruited for the SatchVai Band, who bucks the trend, with him and prog guitarist James Norbert Ivanyi going for S-type models. As confirmed by Thorn, his HH signatures have a refreshed look, with a hardtail Suhr tremolo and whammy bar, gold top hat knobs, and his signature soft-V neck shape.

The Ivanyi Antique Modern, meanwhile, has been years years in the making, and is “a bespoke instrument refined coalescence of modern performance and enduring philosophy.” It, too, he says, “is a love letter to the retro sound and aesthetic that has shaped my music from the very beginning.”

Specs include a lightweight alder body, roasted maple neck, ebony fingerboard, aged clay inlays, for a subtle but effective twist on traditional mother-of-pearl, vintage bent black saddles, a custom antique nitrocellulose relic finish, signature low-profile tremolo bar, signature electronics, and two unique colour options: Russet Brown and Antique Yellow.

Non-signature models take in revised editions of Suhr's stunted 24.625” OSO short-scale guitars, launched at NAMM last year to much intrigue, a Classic T Pine line, and, for classic Strat fans, new Classic S Studio and Classic S Neoteric models.

With the surprise news that one of its biggest artists, Mateus Asato, is heading off to pastures new, Suhr isn’t resting on its laurels, with some slick designs for 2026.

See Suhr for more.

NAMM 2026: NAMM often plays host to prototypes for new designs, but it's rare for a company of Gibson's heritage and stature to use it as a testing ground for an all-new body shape.

Yet hidden away in the company's private room, buried amongst some frankly stunning custom shop creations, was the Atomic Age – a concept offset guitar from Gibson Custom.

It’s quite unlike any other Gibson we've seen. There's a kind of plain-top Les Paul Junior vibe, but the elongated body and extravagant contours around the bridge and control knobs are something else.

The guitar is the brainchild of Custom Shop Product Engineer Darron Dubose, who sought to create a retro-futuristic design, which at its core, comprises a solid korina body and mahogany neck with an angled string-through construction.

There are nods to pawn shop designs with the big Gibson logo on the split pickguard, paired with a single ‘G’ on the headstock. Mid Century Modern-style bowtie and amoeba shapes are dotted elsewhere.

The pickups are intriguing: a humbucker and a split-coil neck humbucker, while there's a Jaguar-style slider switch on the other side of the ‘guard.

The rear of the guitar is nearly as wild as the front with big comfort contours and some stunning figuring.

Offset nerd that I am, I had a chance to get hands-on with the guitar for a lil’ bit (although, sadly, I didn’t get the chance to plug it in). It sits real nice on the body: good balance, and close to your own body thanks to the generous contours. Upper-fret access is great. And zany as the control recess is, it keeps the knobs out of the way until you need them.

I'd be keen to see what the design looks like with some pastel finishes, but the korina sets it apart from the current wave of offset designs. I like how the bowtie echoes St. Vincent's Ernie Ball signature, too, while being very much its own thing.

In the booth blurb, Gibson asks, “Is this the next ‘Moderne’? Time will tell.” The Atomic Age won't be everyone's cup of tea, but I'd argue it makes as much if not more aesthetic sense as the Theodore. And it still has that “blueprint lost in a locker for 50 years” look.

Whatever happens, a new body shape is always bound to be a hot topic, so kudos to Gibson for being bold enough to put it out there. Now let's see what the rest of the world makes of it…

Head over to the NAMM live blog for more up-to-the-minute coverage of the best new gear at this year’s show.

NAMM 2026: AI, the existential threat to us all, or the great savior of humanity? Whatever your thoughts on the technology that's on everybody's lips, there's no doubting its increasing influence on the world of guitar gear.

Last year, for instance, Positive Grid unveiled BIAS X, software that, in short, uses AI to respond to prompts and recreate the guitar tones of any reference song you can throw at it (we dug it!). There was Lowden, which announced that it would start putting AI in its acoustics to help players better look after their guitar – and track it down when lost or stolen. Guitar Center even introduced Rig Advisor, the world’s first-ever guitar-minded AI shopping assistant. You get the point.

Now, audio giant JBL has entered the AI guitar tech fray, and the company's first swing is a big one.

The company's newest creation, BandBox, is an AI-powered smart practice amp and portable speaker. Most intriguingly, that AI tech, JBL says, can provide real-time vocal and instrument separation.

Dubbed Stem AI, BandBox's built-in tech lets users isolate or remove vocals, guitar, or drums from any track in real time. This, JBL says, “makes it easy to turn any track into a custom backing mix tailored to your instrument.”

Stem AI is featured on both versions of the BandBox, the Solo and the Trio.

Solo boasts 30 watts of output, and features a single guitar/microphone input, and can be connected to the JBL ONE app, which gives users the choice of a number of amp models of all sonic stripes, and some basic effects, like phaser, chorus, and reverb.

Additional handy onboard tools include a tuner, metronome, and looper, and a USB-C output via which users can connect their laptop.

The Trio, meanwhile, has 135 watts of output, four instrument inputs, and a nifty built-in four-channel mixer, plus all of the above features from the JBL One app.

“JBL BandBox is created with musicians’ needs in mind, and is made possible by cutting-edge technology,” says Carsten Olesen, President of Consumer Audio at JBL's parent company, Harman.

“This is the first speaker to feature an on-device Stem AI algorithm capable of removing vocals or instruments, without the need for cloud processing or an internet connection. With this breakthrough, it’s easier than ever to practice, improve, and enjoy playing music either on your own or with friends.”

The JBL BandBox Solo and Trio will ring up at $249 and $599, respectively.

For more info, visit JBL.

NAMM 2026: The much-rumored Tosin Abasi nylon-string electric guitar, which has been in development for three years, is finally here.

Much like any other Abasi model, it reinvents the nylon-string as we know it through a collaboration with Yamaha-owned classical and Spanish guitar experts, Córdoba, marking the first time Abasi Concepts has ever collaborated with another firm.

Abasi had previously teased the Abasi Stage 7 in a Guitar World interview at last year’s NAMM show, where he stated that, “It’s basically an attempt to create a nylon-string instrument that [takes] a lot of the same design concepts from [other Abasi Concepts guitars] – multi-scale, thin-bodied, ergonomic – but it's for guys who maybe aren't traditional classical players, but do want a nylon-string guitar for recording and specifically for stage.”

At first glance, the Abasi Stage 7 is truly a meeting of the minds. It draws inspiration from Córdoba’s flagship Stage solidbody nylon-string guitar concept and Stage pickup system, and pairs it with Abasi Concepts’ Larada ergonomic platform.

Described as a “unique 7-string instrument” tuned from B to E, the model was specifically crafted with resonance, low-end response, and rich tones in mind, as showcased by its extensively chambered mahogany body with custom internal bracing.

Ergonomics are prioritized via the 24 fanned frets, a compound radius fretboard, and a satin neck finish that guarantees “exceptional range, intonation, and playability.”

Additional features include an oval sound hole on the side of the instrument, a mahogany flat C-Shape set neck with a rosewood fingerboard, black top purfling, and a Fusion Fan headstock with a rosewood overlay. Inlaid Córdoba and Abasi logos cement the collaborative spirit, while a rosewood bridge with a bone saddle and a bone nut wrap add further flourishes to this inventive guitar.

So what's under the proverbial hood? Turns out, all Abasi Stage 7 guitars come equipped with Córdoba's Stage Pickup System, co-developed with Fishman. Thanks to an under-saddle transducer with internal body sensors, the model delivers the quintessential nylon-string tone without the “quack” associated with piezo pickups.

A professional-quality preamp with side-mounted Volume, EQ, and Body Blend controls round up this guitar's keen specs. And in true Abasi form, the model is available in cool Ziricote, Acacia, and Whiteburst finishes.

As Yamaha Guitar Group describes it, “The Abasi Stage 7 defines a bold new direction in nylon-string guitar design – modern, ergonomic, and unapologetically performance-driven. It invites a new generation of forward-thinking players to explore nylon-string tones and make them their own.”

Priced at $1,499, the Abasi Stage 7 is now available for pre-order.

Head to Abasi Concepts to find out more.

NAMM 2026: Two-time Grammy winner and bluegrass magician Molly Tuttle has finally gotten a Martin signature guitar, and it’s proven worth the wait, with two models arriving at once.

The Martin D-18 and D-X2E sprinkles fresh elegance on her treasured 1943 D-18 model, and a more affordable X Series acoustic guitar to the fore, realizing a lifelong dream for the artist.

Tuttle’s D-18 stays fairly faithful to her 83-year-old companion, with a rear-shifted scalloped bracing, 1940s neck profile, and a personalised touch in the form of moon phase fingerboard inlays.

“I feel like the moon represents creativity, inspiration, and your subconscious,” Tuttle explains of that aesthetic flourish. “Sometimes when I realize it's a new moon, I think that's a good time to plant the seeds of new ideas.”

Other features include a vintage sunburst top, stylizing a body boasting a spruce top, mahogany back and sides, and faux brown tortoise binding. Other finishing touches include a Silver Martin script logo atop the headstock and oval tuner buttons.

Its mahogany neck, meanwhile, offers a standard taper and an ebony fingerboard with 20 frets, joining the body at the 14th fret.

The guitar, which Martin enthusiastically describes as coming “wrapped in timeless tone and vintage style,” is priced at $4,199.99, with both right- and left-handed models available.

For players seeking a more affordable entry point, the D-X2E presents a compelling alternative, bringing the coveted 1940s neck profile to a far more palatable $999.99 price point.

It's the first X-Series model to have such a neck, with a “select hardwood” construction helping keep the price down. Elsewhere, it’s fairly generously specced with a satin-finished spruce top and figured mahogany HPL back and sides, scalloped X-bracing, and more lunar inlays for its ebony fingerboard. Playability, moreover, is at its heart.

“It's this beautiful kind of V-shaped neck that I find extremely comfortable to play,” Tuttle beams. “You could pick this up and go down and play a gig with it that very day.”

For a musician who once told Guitarist that she “coveted” Martin Guitars, the Martin collaboration is her biggest ambition manifest.

“I've always dreamed of playing Martin guitars ever since I started playing the guitar,” Tuttle says. “To see my name on this Martin guitar and to have had a hand in designing it, it was just a huge moment for me.

“These are such beautiful instruments, I'm excited to see what songs they hold; there are no limits to what I can create and perform on these guitars. They have the classic sound that I'm looking for, and Martin Guitars always bring the best out of my playing and ideas.”

Both of Molly Tuttle's signature guitars are available now.

Head over to Martin for the full lowdown.

NAMM 2026: Ever-innovative Swedish guitar firm Strandberg has turned to Jamstik for its latest collaborative release, and the Strandberg x Jamstik Chameleon puts its electric guitar design on a collision course with full polyphonic MIDI functionality.

The firm behind the dramatic reversal of fortunes of headless guitars, Strandberg, with its ergonomic body shape and peculiar-but-addictive EndurNeck – inspired by a common household object no less – has already left its mark on the industry. But it doesn’t want to stop there, with the Chameleon crafted to go beyond the typical realms of the guitar.

See it as a best of both worlds guitar, with all the usual features of a Strandberg bolstered with the power of MIDI. Through USB-C, Bluetooth, and TRS-MIDI connectivity, the guitar can control software instruments, from lush violins and synths to harpsichord, choirs, and whatever else may take your fancy.

Latency is described as being as low as possible, offering near-seamless integration into a world usually reserved for other tools. Granted, Jamstik's MIDI guitars have been around for a while, but have only ever come in Strat-like formats, so this is a pretty tasty meeting of minds, especially given Strandberg's celebrated ergonomics.

The guitar itself has a meranti body, presumably for its tonal neutrality, although others deem it closer to mahogany. Elsewhere, there's a bolt-on roasted maple neck, 24-fret rosewood fingerboard with 20” radius, stainless steel frets, and white plastic inlays.

Strandberg Custom humbuckers with Master Volume and Tone controls and a five-way switch, and its sturdy Arc hardtail bridge with aluminum Knob NX 6mm tuning knobs also feature.

And that is, of course, before we talk about the extraterrestrial Chameleon Burst gloss finish. This writer usually likes a guitar to look like a piece of wood, but given the context, this looking like it was stolen from an alien spacecraft is pretty cool.

The MIDI magic, meanwhile, comes via the Zivix Jamstik MIDI module and hexaphonic pickup, which sits between the treble pickup and the bridge. That means this can do everything you expect from a Strandberg, and then some. It's not a case of either or.

“The Strandberg x Jamstik Chameleon is the perfect instrument for the modern adventurous musician longing to expand their definition of what a guitar can do while retaining the feel, sound, and functionality of other Strandberg guitars,” says the firm.

“Venture into a world of alternate tunings and non-guitar sounds with the lowest possible latency to break new musical ground.”

With this being a Strandberg, its $2,199 should come as no great surprise, more than doubling the outlay of the Jamstik Standard, even if the own-brand pickups might not inspire all.

Still, with a guitar that has proved to perform like no other, as per Guitar World’s reviews of the N2 Original and N2 Standard, and the added functionality, the price can be argued.

Check out Strandberg for more info.

It’s the first major announcement from Strandberg during NAMM 2026, while we wait with bated breath to see if its long-since teased headless acoustic is about to follow in its wake.

NAMM 2026: British amp builders Blackstar has followed in the footsteps of Fender in transitioning into the amp modeler market with a series of “advanced DSP” pedals under the ID:X Digital Floorboard banner. And it reckons they’ve got “insane versatility” while remaining affordable.

Like the Fender Tone Master Pro and its dizzying array of competitors, it looks to pack amps and effects into a travel-friendly unit, with the promise of capturing the “true behavior and musical response of tube amplifiers rather than simply recreating their sound.”

Considering just how well modelers are currently out-selling traditional tube amps – as per Reverb’s yearly sales reports – it’s no surprise to see Blackstar, backed by the likes of Phil Collen, Jared James Nichols, and Neal Schon, make the pivot. Still, it isn’t doing things by halves.

Tailored for electric guitar, acoustics, and bass, all the same, the series is powered by “a high-performance modelling platform” which seemingly focuses on quality over quantity.

Rather than offering players more amps than even Joe Bonamassa could handle, it serves up 12 electric guitar amps, three bass models, and two acoustic voices, all of which benefit from Blackstar’s famed ISF tone shaping feature, for a dialable British/American tonality.

There’s also the ability to select from EL84, EL34, and 6L6 power-valve responses “to recreate the feel of different tube architectures under the fingers.”

It could be perceived cynically that the amp count is far lower than, say, a Quad Cortex, but these modelers could also be seen as well-equipped amp-in-a-box pedals, prioritizing realism over anything else, which is an interesting move in the face of mounting competition.

Effects-wise, there are more than 35 of them, taking in overdrives, modulation, delays, and reverbs, of course. But there’s also an exclusive In The Room technology that “allows players to experience the dynamic sensation of an amp moving air” in whatever setting it's used.

CabRig speaker and microphone simulation with room options is fully controllable from the unit itself, and there's space for 99 patches to be saved and recalled at will.

Naturally, too, we’re looking at unbridled connectivity. The ID:X Floor One, the smallest base level mode, offers a compact format with USB-C audio interface capability, MIDI input, XLR outputs, a built-in tuner, streaming input, and headphone connectivity.

Moving up, the ID:X Floor Two throws an expression pedal into the mix, presiding over wah, volume, and other expressive parameters, while the top-of-the-range ID:X Floor Three bolsters that spec list with MIDI in and Thru, an effects loop for wider pedalboard integration, extended switching for patches and effects, and a larger chassis.

And while Neural DSP’s striking new iPhone-meets-modeler, the Quad Cortex mini, has left some bawking at its $1,399 asking price, Blackstar’s alternative is a little more affordable. The ID:X Floor One costs $269.99, with the ID:X Floor Two rising to $319.99, and the ID:X Floor Three capping the lot at $399.99.

All three models support deep software editing and online patch sharing via Blackstar’s free-to-download Architect software.

Check out Blackstar for more info on the new series.

NAMM 2026: British metal heavyweights Iron Maiden are the latest to be honored with a signature Jim Dunlop Cry Baby Wah, with a special Killers edition of the iconic pedal paying homage to the band’s earliest days.

First launched in the mid-1960s and quickly immortalized by Jimi Hendrix on Voodoo Chile (Slight Return), the Cry Baby wah has long since been a pedalboard staple for many.

Over the years, everyone from Slash and Dimebag Darrell to Joe Bonamassa and Jerry Cantrell has been bestowed with signature editions as its empire has grown, and now the band that “emerged from the rough-and-gritty streets of late-’70s London” has joined the clan.

From classic Killers cuts like Wrathchild and Innocent Exile to The Number of the Beast – the wah has been a trademark effect for Maiden’s shredders. Cue this collector’s edition stompbox, emblazoned with Killers era Eddie for a pedal you won’t miss on a darkened stage floor.

Beneath that embossed tread – which looks pleasingly grippy – the pedal is essentially a redressed version of the GCB95 Cry Baby Standard Wah.

That means there are no bells and whistles with this edition, instead focusing on the classic sound that made the pedal one of the world's best-sellers in the first place. The Killers image that takes up the entire bottom plate, and the Iron Maiden logo along its side are neat touches, though.

Wah enthusiasts Kirk Hammett and John Petrucci are among the first players in the world to get their hands on the new pedal, with the pair sent mystery boxes to open for their social media followers.

While Hammett jokingly says he hopes it's food or coffee inside the box, there's an audible gasp when he sees what's inside.

“Oh my gosh, this is very special,” he purrs. “I love Iron Maiden, and I love this album. I'm getting a warm feeling in my heart right now.”

Petrucci is similarly impressed, beaming, “How cool is that?” as he holds it up to the camera.

“This collector’s edition Cry Baby Standard Wah celebrates that sonic connection with an exclusive collector’s edition finish and custom tread inspired by that record,” says Jim Dunlop.

“Whether it’s mounted on your pedalboard or standing at the heart of your shrine, this pedal is a torch held high for rock ’n’ roll.

The Jim Dunlop Iron Maiden Killers Cry Baby wah is available now for $229.99.

See Jim Dunlop for more.

The pedal’s release comes quickly after Fender launched a band-wide run of signature guitars for Maiden, meaning Janick Gers finally got his moment in the limelight.

NAMM 2026: Yamaha is finally satiating the appetite of those who have been begging for the mainstreaming of Pacifica single-cut electric guitars by announcing the Pacifica SC Professional, which promises to combine “timeless design with effortless feel, modern comfort, and unmistakably confident style.”

Available in both Japanese- and Indonesian-made versions, one of the guitar’s standout features – aside from its quasi-mythical single-cut body design – is its set of newly designed Reflectone pickups. Co-developed with Rupert Neve Designs, they're said to boast “exceptional articulation and clarity.”

An S-H pickup configuration and Focus Switch look to expand the guitar's tonal palette. Also contributing to said palette is the chambered body, which – with the help of the company's proprietary Acoustic Design technology – aims to ensure rich and optimized resonance.

Tone aside, playability and ergonomics have also been given priority, with a rounded-C neck profile and a fast-playing 9.5”-12” compound-radius fingerboard with medium-jumbo stainless-steel frets – prime for “fluid bends, clean chords, and confident vibrato.”

Other furnishings include Gotoh locking tuners, a compensated brass 3-saddle bridge, and Yamaha’s I.R.A. (Initial Response Acceleration) treatment.

And for those who take pride in aesthetics, the Pacifica SC Professional is available in a series of vibrant City Pop–inspired finishes, with either a maple or rosewood fingerboard to match your preferences.

Players can also choose between the Made in Japan model, which will set you back ~£2,250 (~$3,000), or the more affordable Made in Indonesia option, priced at £1,000 (~$1,300).

For more info on the guitar, visit Yamaha.

Yamaha’s NAMM 2026 lineup also includes Chris Buck’s new signature Revstar – the Cardinal Black guitarist's take on the model that managed to pull him away from his trusty Strat.

NAMM 2026: Welcome, guitar disciples. Once more, we bid you a happy new year and happy new gear, as we usher in NAMM 2026 – the world’s biggest guitar gear show.

The annual gathering of the National Association of Music Merchants has been running since 1902, making January 22-24 2026 the 124th(!) showcase of new guitars, amps, pedals and everything else besides.

We enter 2026 in a different mood than 2025. Last year, we weren’t sure whether the show would even take place owing to the California wildfires. This time, the specter of tariff uncertainty looms over release schedules and price lists.

Fortunately, nothing can stop the torrent of new gear that bursts forth every January, and we are delighted to confirm there are some humdingers on the horizon.

NAMM is less public-facing than it once was, and our diaries are filling up with press conferences and closed-off product showcases. Not everyone will get up close and personal with the latest releases – but you can bet we will.

Yes, once more, the Guitar World team will have boots on the ground at the musical mecca that is the Anaheim Convention Center, bringing you all the biggest releases, artist performances, and weirdest guitar builds you’ve ever seen.

This year’s squad includes Editor-in-Chief Mike Astley-Brown, now on his seventh/eighth/ninth tour of the ACC. News Editor Matt Owen joins him for his second year of hoping to bump into John Mayer at the Anaheim Fresh lunch stand.

GW gear guru Paul Riario – now on what must be at least his 79th NAMM – will be stroking his chin over the finest new goods, ably assisted by videographer Alan Chaput. GW mag’s own Editor-in-Chief Damian Fanelli is also roaming the halls, arm-wrestling his digital counterpart to be first in line for the free content creator coffee.

In short, we got you. All the hottest news, up-to-the-minute as much as patchy show will Wi-Fi allow. Expert insights and hands-on analysis. Artist interviews, celebrity sightings, live shred-offs, and more gear than you could ever dream of sneaking by your significant other.

Welcome to NAMM 2026 LIVE! Bookmark this page, pore over it regularly, cherish it. And prepare yourself for some truly terrible puns…

And there they are! Look at our intrepid gang, standing outside the eighth Wonder of the World, the Anaheim Convention Center.

Now, we've seen a multitude of huge gear releases already, and rumors abound about what we might yet see in the coming days. Who'll make a surprise appearance? What product announcement will steal the show? Will Matt get to play a real Dumble again?? Answers to all this and more await...

One thing that is certainly not in doubt is which pre-show release is being chatted about the most at the moment.

Unveiled today, Neural DSP's new Quad Cortex mini is a big f'in deal, as they say. The Quad Cortex completely changed the game for modeling multi-effects pedals, and this pint-sized modeler puts the full QC experience into its smallest format yet, and at the same time, retains the larger unit's power, UI, and most importantly (and unlike its sibling, the Nano Cortex), a touchscreen. We cannot wait to get our hands on it.

So, you've obviously got your new kit with the pre-show announcements, but how about some star power? This was provided by Ed Sheeran, who on NAMM Eve announced the PRS SE Cosmic Splash, a tastily spec'd hollowbody baritone limited to just 1,000 pieces.

Amazingly, it’s the first time PRS has ever made a hollowbody baritone guitar, save for the one-off Drive guitar it made with Sheeran for the new F1: The Movie soundtrack.

Tantalizingly, the stadium-packing singer-songwriter said of the model, “It's a limited edition, so it will go fast, but there's more to come, so stay tuned.”

Yamaha's had quite a pre-NAMM day as well. Revstar aficionado Chris Buck – who was wooed by the model away from the Strat, to which he had long been a loyalist up to that point – has put his own signature twist on the model in the form of the new RS02CB.

Loaded with sweet personal visual and sonic touches, it goes well with Yamaha's other major announcement of the day, its new-for-2026 Pacifica single-cut.

As is NAMM tradition, we spent plenty of time at the Martin booth today. Okay, fine, the Martin booth was the only booth that was open, but the company's media preview day press conference still reliably delivered the goods.

We got up-close with the first-ever paisley Martin, the sustainably sourced Biosphere Polar Bear acoustic, and, of course, the new Molly Tuttle signatures. Tuttle has two signatures out, and she demo'd both of them at the booth. Obviously, they sound amazing.

Some extremely cool goings-ons at the EVH and Jackson Custom Shop stalls, too. A striped EVH whammy bar. Silver swirl Wolfgang. The Pile O' Bones Soloist with a constantly flashing red light – and one of the greatest jack socket placements in the history of electric guitars. As for the Jackson Condor (last slide), we're sure we've seen that shape somewhere before…

Good morning NAMM fans, Deputy Editor Matt P here – back in the rainy UK, holding the fort, while our pan-Atlantic team galavant around Anaheim’s golden halls. However, while I am lacking in vitamin D, I will attempt to compensate for that by basking in the reflective glow of spangly new gear...

Probably the biggest news overnight is the arrival of Billy Corgan and Laney's new Supergrace signature pedal, which the Smashing Pumpkins man is boldy claiming packs the tone of his $100K+ rig into a $629 pedal amp. It’s not empty marketing, either, as Corgan told GW, he’s already used it onstage in front of an audience of 60,000...

One of my favorite things about NAMM is how, amid the big brand noise and reissues, you can stumble upon a genuinely insane leftfield idea. The Casio Dimension Shifter definitely falls into that category. It uses the tension of your guitar strap to convert your movements into a signal that can wirelessly control effects parameters.

Think of it like an expression pedal. But it’s in your strap.

Yeah. It is wild and, for a lot of players, probably about as much use as a chocolate teapot, but I want to try it nonetheless...

A lot of tube amp builders market themselves purely on vintage self-reverence, playing up the mysticism and acting like they’ve uncovered some kind of lost secret power. It helps with the marketing, sure, but embracing all that antiquity makes them look a bit... well, dusty.

As such, I really enjoy Orange’s refreshing policy of bullishly making tube amps that are somehow still relevant to the modern player.

The new Orange OR60 is a single-channel 60-watt build that does not mess about. Like the OR30 before it, it somewhat surprisingly, touts its versatility.

No, it’s not pretending to be a bells and whistles modeler with 1,700+ preset slots you’ll never use, instead Orange means it'll do all the things you need it to – handling pedals, high gain aggression or high headroom cleans – without breaking a sweat.

*Check 1, 2, 3* Hello (guitar) world – staff writer Janelle here, and I'll be shining a spotlight on some of the NAMM (or NAMM-adjacent) releases that have caught my eye.

First up is Fatoumata Diawara’s signature Epiphone SG, and if you haven’t heard of Diawara, go to your favorite listening platform right now and prep yourself for a delectable sonic feast.

Diawara is also making history as the first woman of color to partner up with Epiphone on a signature model (it's well overdue).

Each spec and detail is Diawara through and through – from the obvious, like the body graphic inspired by Diawara’s Malian roots, to the nods to one of the artist’s favorite SGs, the Epiphone Muse.

Her genre-blending compositions are reflected in the pickup choices: Epiphone Alnico Classic PRO humbuckers – with individual volume knobs that include push/pull coil-splitting – and two tone controls for further tone sculpting.

There’s also a push/pull phase switch on one of the tone knobs, which offers out-of-phase tones when both pickups are engaged. And, for $699, it's safe to say that it's a total bang for your buck.

Matt P, back in saddle. I, rather grandly, declared us to be in a new golden age for pickups in 2023 – thanks to the tidal wave of innovation in the space across the past decade.

Fishman's Fluence pickup system has been the real paradigm shift and a runaway success for the company, allowing multiple voicings from the same physical units and, perhaps more savvily for the firm itself, real-time revoicings and spec'ing of signature products using their studio software.

Now the biggest name in aftermarket pickups, Seymour Duncan has unveiled, rather grandly, the MortalCoil, which offers similar flexibility to players, packing three voices into a single active humbucker design. As such, it’s promising you can get modern metal tones, plus classic Seymour Duncan JB and Jazz sound, and even single coil tones from the same unit.

A new (old) one from MXR here, the MXR EVH Modern High Gain takes the face-melting third channel of the EVH 5150III – that’s its highest of high gain settings – and tries to contain it in a pedal. It has clearly turned very red in the face with the effort.

What is particularly cool about this box of anger is that it was designed in direct conjunction with the good lord of tone Edward Van Halen, himself, back in 2015.

The control setup is similar to the longer-standing MXR EVH 5150 Overdrive, with the exception of a rather nifty bass shift mini-switch, which offers a choice of fatter or punchier low end frequency.

And... I'm back (Janelle here). Strandberg is certainly living up to its reputation as the avant-garde firm to beat at this year's NAMM. It has just turned to Jamstik for its latest collaborative release – the Strandberg x Jamstik Chameleon – which puts its electric guitar design on a collision course with full polyphonic MIDI functionality.

See it as a best of both worlds guitar, with all the usual features of a Strandberg bolstered with the power of MIDI. Through USB-C, Bluetooth, and TRS-MIDI connectivity, the guitar can control software instruments, from lush violins and synths to harpsichord, choirs, and whatever else may take your fancy.

For all the Iron Maiden fans out there... this one's for you.

The British metal heavyweights are the latest to be honored with a signature Jim Dunlop Cry Baby Wah, with a special Killers edition of the iconic pedal paying homage to the band’s earliest days.

The wah has been a trademark effect for Maiden’s shredders, so, cue this collector’s edition stompbox, emblazoned with Killers era Eddie (of course) for a pedal you won’t miss on a darkened stage floor.

And oh, Kirk Hammett's a fan.

Blackstar has launched one of this year's most surprising offerings, as the firm is going toe to toe with the likes of the Fender Tone Master Pro by rolling out the new ID:X Digital Floorboard series.

Like the Fender Tone Master Pro and its dizzying array of competitors, it looks to pack amps and effects into a travel-friendly unit, with the promise of capturing the “true behavior and musical response of tube amplifiers rather than simply recreating their sound.”

There are three options to choose from. The cheapest and most compact option, the ID:X Floor One, comes fully equipped with USB-C audio interface capability, MIDI input, XLR outputs, a built-in tuner, streaming input, and headphone connectivity.

ID:X Floor Two is next – and it throws an expression pedal into the mix (to satiate all your wah and volume needs). The most expensive of the trio, the ID:X Floor Three, comes with all that and more... namely, a MIDI in and Thru, an effects loop for wider pedalboard integration, extended switching for patches and effects, and a larger chassis.

Considering how well modelers have been doing over the past couple of years (just have a look at Reverb’s yearly sales reports) it's no surprise that Blackstar is getting in on the action.

Long-time Martin champion Molly Tuttle is finally getting her flowers in the form of not one, but two, signature acoustics: the Martin D-18 and the D-X2E.

The two offer an unmistakably vintage flair, which comes as no surprise considering they're based on her prized 1943 D-18 – with a rear-shifted scalloped bracing, 1940s neck profile, and added Molly-isms in the form of moon phase fingerboard inlays. Both right- and left-handed models are available.

As Tuttle herself describes the new signatures, “I've always dreamed of playing Martin guitars ever since I started playing the guitar.

“These are such beautiful instruments, I'm excited to see what songs they hold; there are no limits to what I can create and perform on these guitars.

“They have the classic sound that I'm looking for, and Martin Guitars always bring the best out of my playing and ideas.”

Hello there! Jackson here for more of your NAMM coverage needs. Having attended the show myself what feels like a lifetime ago (2023), I know well what an onslaught it can be, but like my colleagues, I'll cherry-pick some highlights from the show that you should know about (and highlight why you should know about them).

At that aforementioned show, I thoroughly enjoyed visiting the Donner booth, and seeing the fun the company was having in the budget guitar space. Its headless HUSH model, in particular, was a lot of fun to mess around on, and its accessibility and affordability had me wondering if I should do the inconceivable (sorry, I was admittedly a bit of a hater): and drop a bit of money on a headless guitar.

Described by the company as “the ultimate modern headless guitar,” Donner's new HLX-500 is definitely more upscale than the HUSH, but is still super-affordable. Ringing up at $330, it's a shot right at Strandberg and Ibanez, and may draw yet more curious players to the ranks of the polarizing, once-overlooked, decapitated style.

NAMM isn't just about new gear, mind you – there are also live performances galore.

I was jealous as hell when the team sent this video – taken at Yamaha's pre-NAMM show concert – over to me. With jaw-loosening chops and technique that have blown the minds of some of the instrument's most respected names, Matteo Mancuso has long been one of the most buzzed-about players in the guitar universe. And from this video you can sure as hell see why!

Funnily enough, when Tosin Abasi last gave us an update on his long-in-the-works Abasi Concepts nylon-string model, it was NAMM 2025.

“It's basically an attempt to create a nylon-string instrument that [takes] a lot of the same design concepts from [other Abasi Concepts guitars] – multi-scale, thin-bodied, ergonomic,” he told GW at the time, “but it's for guys who maybe aren't traditional classical players, but do want a nylon-string guitar for recording and specifically for stage.”

Now, it finally lives. The Abasi Stage 7, to give it its full name, sees Abasi Concepts team up with nylon-string and Spanish guitar mainstay Córdoba. It's a 7-string model tuned from B to E, and features – among other tasty specs – 24 fanned frets and Córdoba's Stage Pickup System. Not your grandpa's classical guitar, that's for sure.

From our colleagues on the show floor...

It's not every day you get to be in the same room as a genuine 1938 D-45, but Matt Swanson – CEO of Dumble, no less – was gracious enough to let us get up close and personal with his own pre-war dreadnought, which is set to be recreated in Martin’s Project 91 initiative. We also got to hold and play it, but we didn't sling it over our shoulder quite like Matt did…

Mike reporting from the show floor here to let you know that Ibanez had some signature surprises at its booth, including the long-awaited Nili Brosh model making its official debut, plus new guitars for Joe Satriani, Kiko Loureiro, JB Brubaker, Nita Strauss, and one particularly extravagant Steve Vai limited edition. Oh, and there's an RG celebrating 250 years of the USA. As you do.

Audio giant JBL has entered the ever-expanding AI guitar tech fray, and the company's first swing is a big one.

The company's newest creation, BandBox, is an AI-powered smart practice amp and portable speaker. Most intriguingly, that AI tech, JBL says, can provide real-time vocal and instrument separation. This could really change the way guitarists practice...

Matt O here, interrupting your feed to share some snaps from NAMM’s ever-extravagant Boutique Guitar Showcase walk. As always, there are some truly spell-binding builds from the likes of Kauer, Giulio Negrini, Sully Guitars, and more. I may or may not have spent 15 minutes here…

Mike has basically melted into a puddle after witnessing Billy Corgan perform at the TEC Awards, where he was honored with the Innovation Award (Billy, not Mike). It was an unapologetically deep-cut set – typical of the Smashing Pumpkins maverick – opening with Siamese Dream's Rocket, before unleashing some gut-wrenching solos over Adore's Shame. There's a real possibility our editor-in-chief may never recover from the latter.

One of the stars of the performance was Corgan's new signature pedal amp with Laney, the Supergrace, which bottles his epic (and very expensive) live tone. Under Corgan's fingers, it sounded just as explosive and volatile as the real deal – and take it from Mike (me), who has seen SP many, many times.

It may have only been bass and drums backing Billy this evening, but he was getting some six-string support from fellow Pumpkins guitarist Kiki Wong.

The UK contingent is back...

Janelle here, and we're kicking things off with some juicy (and pretty exclusive) news. Gibson's testing out a brand new body shape at this year's NAMM. Yes, you heard that one right. And our editor, Mike, was on the ground to witness it (the aptly-titled Atomic Age) firsthand.

“It’s quite unlike any other Gibson we've seen,” he relays. “There's a kind of plain-top Les Paul Junior vibe, but the elongated body and extravagant contours around the bridge and control knobs are something else.

“There are nods to pawn shop designs with the big Gibson logo on the split pickguard, paired with a single ‘G’ on the headstock. Mid Century Modern-style bowtie and amoeba shapes are dotted elsewhere.”

The guitar is the brainchild of Custom Shop Product Engineer Darron Dubose, and (as the kids say), it’s giving retro design meets futurism…. complete with a humbucker and a split-coil neck humbucker, and a Jaguar-style slider switch on the other side of the pickguard.

More about this intriguing guitar here…

For those in the market for new go-to strings, Cleartone Strings has just rolled out the all-new Power Series, engineered for “players who demand more power, clarity, and endurance from every note.”

They’re built on a reformulated Nickel-Iron Blend and guarantee “a natural clean boost directly from your guitar – no pedals required.” Apparently, they've gone through a year of intense testing!

Available now in gauges 9-42, 9-46, 10-46, 10-52, and 11-48.

The guitar world gasped when Slash left Marshall in 2023... only to join Magnatone, a lesser-known brand. Well, turns out this (fairly) new collaboration is proving fruitful.

In an arena saturated with amp modelers, Slash is sticking to what he knows best: old-school amps. In fact, he's just rolled out the Lil’ Viper, a lightweight amp with a size-defying sound, in collaboration with Magnatone.

It's a combo amp fueled by a 12AX7 preamp tube and a pair of NOS 6AQ5 power tubes, resulting in 8 watts of push-pull Class AB output hurtling out of the Magnatone Custom 8” ceramic magnet speaker.

For added versatility, there’s a High/Low gain switch that gives players two distinct voicings for when players (like you) would want to dial back and dig in, respectively.

Pretty nifty!

Reverend Guitars is rolling out the Air series, featuring four new semi-hollow models in the Charger, Kingbolt, and Roundhouse lines. As the brand puts it, “each one is built for classic tone, modern playability, and standout looks.”

Construction-wise, each model features a solid mahogany back, routed to yield a full-length center block – topped with maple (Roundhouse Air) or spruce (Charger Air and Kingbolt Air).

New Steelhead Series pickups, which include humbuckers and hum-cancelling P90s with oversized steel poles, furnish these models, all in the name of a “punchy, dynamic sound.” Looking at the finishes, they’re as tasty as they come – Metallic Cherry, Purple Punch, Citrus Cream, and Iconic Blue (to name a few!)

Not only that... Reverend is making over – and introducing updated models to – its Charger, Kingbolt, Descent, Sensei, and Roundhouse lineups. Talk about a brand properly implementing its 2026 resolutions!

Hello, Matt Parker, back on the live blog! This is cool... Meet the BW 1969, the new signature amp from Divided by 13 and Butch Walker.

It’s a super high-end Marshall-style tube amp build at its core, but it features both EL84 and 6L6 power sections, each of which can run independently – or you can stack the two together – all with a simple toggle switch.

It looks absolutely beautiful and has been built in the USA with point-to-point wiring. There is no price tag available at the time of writing, but judging from that spec, expect it to be approximately all of your dollars...

Back on the homefront, Pete from our UK reviews team has already got his paws on one of the show's most talked-about new products: Neural DSP’s Quad Cortex Mini.

Our full review is obviously still incoming, but you can check out his unboxing and early impressions – alongside a few tones from the unit – right here.

He didn’t even have to brave to 15 hours of slap bass and Anaheim aircon to get a go on it, either. It hardly seems fair...

Not to be outdone by Tosin Abasi’s stylish new entry into the nylon-string signature game with Cordoba, Tim Henson is back to remind us who got the progressives into classical guitars in the first place. [Er, Segovia? - Ed]

His new Ibanez signature TOD100N offers a high-end take on the successful TOD10N, which was first launched in 2022.

It comes with a choice of Sitka Spruce (N) and Flame Maple (FMN) tops. Expect upgraded Fishman electronics, ebony fingerboards and bridges and a video demo in which he does that killer jerky neck move while calmly delivering some spider handed licks at 1,500bpm.

No price yet, as they won't be rolling out until later in 2026...

Ah Mr Mayer, we’ve been expecting you. Few points to note about this image. The first and most important, is that this is the new limited edition ‘Wild Blue’ colorway for Mayer’s PRS Silver Sky.

It was actually one of the earliest prototype Silver Sky finishes, but never saw release – until now – as PRS is promising to make 1000 of them across 2026.

“As a watch collector, turquoise blue is a color that has always evoked excitement,” notes Mayer. “So a limited edition Silver Sky in turquoise is the perfect crossover. I hope it brings a smile to both guitar players and watch enthusiasts alike.”

Now, correct me if I'm wrong watch geeks, but I think Mayer is alluding to the crossover releases from Rolex and Audemars Piguet that use the iconic ‘Tiffany blue’. The name, meanwhile, is a nod to Mayer’s song of the same title. Get more info on that one at PRS.

Also, I want that sweater. What is that? A gansey? Is there a signature line on the way?

Here it is, the Ibanez everyone’s talking about, the Alpha.

Naturally, the chatter around this one has focused on its likeness to builds developed by Tosin Abasi (who, it should be pointed out, once developed a prototype signature guitar with the company).

There's no denying it certainly has an Abasi Concepts Larada / Ernie Ball Kaizen vibe about it, but Ibanez has tried to do things its own way – that newly engineered neck joint, for instance, is quite nice.

There's no six-string version, so the seven- and eight-strings felt quite alien in my hands (Matt O here, btw), but it's impressively put together nonetheless, and it feels suitably ‘progressive’.

Jackson here! I wanted to give a quick shout-out to the She Rocks Awards ceremony, which takes place tonight. Even if you aren't attending NAMM, you can watch the show live on the Women's International Music Network YouTube channel. Hosted by Vicki Peterson of the Bangles, this year's honorees include guitarists Sophie Burrell and Margaret Glaspy, and many more female musicians and industry leaders.

MO again. Last NAMM, I got to play a real, actual Dumble. This year, I got to play the next best thing: the DSM & Humboldt Dumblifier.

This was firmly on my radar going into the show this year, and this morning I finally got a window to scout it out.

How does it compare to the real thing? Hard to say through headphones, of course, but the early signs have left me hugely impressed. The overdrive channel is particularly juicy, the level of customization you get with the speaker cab options is insane, and the onboard reverb is chef’s kiss. Could get surprisingly atmospheric with this. Very versatile. I might go back later…

We also got a look at what Epiphone has in store for 2026, and my goodness – Futuras, stainless steel frets, and long-awaited signatures? It's a really sign of Epiphone taking true inspiration from its big brother company, with a mission of bringing bigger and better specs to lower price ranges for the first time.

We could break it all down at great length, buuut a better source would be Gibson Vice President of Product Mat Koehler. That's why we asked him to give us a guided tour of Epiphone's new-for-2026 lineup!

No new Mateus Asato model from Suhr this year. He left the company a few weeks ago, and the popular rumor is he's off to Fender.

That said, Suhr has made a point of showing just how stacked its current artist roster is with a very impressive Wall of Fame-style display. There are models for Pete Thorn, Andy Wood, and Benji Madden of Good Charlotte. Some very nice 2026 limited edition models on show, too…

We talked 'bout the exciting developments at Epiphone earlier, but how about its sibling?

Gibson is celebrating 50 years of building guitars in Nashville, and its got a lot of plans up its sleeve. The company's new-for-2026 lineup includes ‘50s and ‘60s-inspired reissues and signature models for classic rock gods of the days of old (Mick Ronson, Michael Schenker) and new (Gary Clark Jr.) alike.

But how about we double that to 100 years? The Gibson Century Collection of acoustics serves up “a sound you can feel in your bones” in light of the 100th anniversary of the introduction of the company's flat-tops.

The guitars harken right back to then – no-frills, 12-fret instruments “channeling the minimalist elegance of early 20th century design.” Covering all the bases, huh?

From Matt O on the show floor...

Okay, it's about time I address the Big One. The Neural DSP Quad Cortex mini. This was a surprise for me heading into the show, and I was very pleased to see it out in the wild on the show floor. We got the nitty gritty from ‘Digital’ John Connearn in the Neural meeting room yesterday, but this morning I spent a bit more time with it.

There's no denying it's an amazing-sound piece of kit, and that they've managed to put the full QC experience into such a tiny package is rather remarkable, but with such a streamlined form factor comes compromise in the operation. There will be a bit of a learning curve, no doubt, and it took me a while to get to grips with the switches, views, modes, and the like.

It's so worth it, though, because it truly does sound superb. Full thoughts to follow shortly…

I don't want to speak for Mike and Rob (our esteemed Reviews Editor, who is also scouring the NAMM floor), but three members of the GW team have played the Mentha Works Monk Echo pedal so far, and we've all come to the same conclusion: it's a really f**king great pedal.

When we heard two ex-Gamechanger Audio employees were starting their own company, we knew they'd be one to watch. 'Gamechanger Audio' was a very apt name for the firm, after all.

And while the Monk Echo might look more stripped back, a bit more minimalist, it by no means sounds it. The tones you can get from this our breathtaking. Dialing in effects is a unique experience, too – it's very tactile, very hands-on. I'll be honest, the LED display confused me, but that didn't matter. It was so easy to get otherworldly reverb/delay/modulation effects. Can't wait to see what they do next...

I am a huge fan of the Yamaha Revstar. I am also, like most people reading this page, a huge Chris Buck fan. Put the two together and... well, you get an absolute winner in my eyes. We were fortunate enough to spend some time with Chris today to chat about his new signature, but we also discussed technique, tone, that Strat baggage take, and, of course, what it was like when his hero Slash helped Chris and his band, Cardinal Black, get to L.A. for their first US gigs. Full feature to come...

It's been a looooong time coming (we were having this conversation last year) but the Abasi Concepts nylon-string is finally here. Hurrah!

Mike hosted a public Q&A with the man himself this evening at the Cordoba booth. I spent 99% of my time listening, and 1% staring at the guitar you can see above. I might have fudged the numbers there, but it's not my fault. It's a very cool guitar.

I spent plenty of time in the Boutique Guitar showcase display yesterday, but I reckon the most extravagantly intricate, mind-meltingly stunning, gorgeously crafted one-off build can be found at the John Page booth.

The Retablo is a cathedral in a guitar, and it pays homage to some true music greats, with odes to Sister Rosetta Tharpe, Muddy Waters and more all housed in the three-dimensional body. Words don't quite do this one justice.

Good morning! Dep Ed Matt Parker here – and a very warm welcome to NAMM Saturday 2026.

We're in the final day of the show now and, while our LA team is still tucked up in bed (hopefully – they'll either be doing that, or frantically typing), there’s still so much news that we've not had time to tell you about yet – and we'll be going right through the weekend to bring it you.

If you're checking in on NAMM news for the first time, we'll be updating this here live blog throughout the day. You can catch up on everything from the show floor below, or for a full directory of announcements – peruse our NAMM hub.

We'll keep bringing you the most in-depth guitar coverage of the mammoth music-making event that you'll find, well, anywhere...

So make yourself a beverage and dig in!

Just in overnight is news of a signature guitar for longtime Taylor Swift guitarist Paul Sidoti. The Duesenberg Alliance Paul Sidoti is a vintage style beauty, with a Custom Catalina Blue finish and nickel hardware.

Based upon the firm’s Paloma Custom solidbody, there’s an alder body (with comfort carves) and an HSH pickup configuration that uses Duesenberg’s own units, with two Split/King Duo-Coils and a Pearlito single coil.

The Split/King Duo-Coil innovation is that it’s actually two single coils housed in a humbucker-unit, so you’re not splitting the coils, as such – you’re getting true single coil tone – making it more of an SS-S-SS configuration, if you get what I mean...

Across the course of the last 50 years, ‘Made in Japan’ has gone from creating a perception of a knock-off brand to becoming a badge of pride for guitar producers.

Now, most players will acknowledge what the guitar cognoscenti having been (quietly) saying for decades – that Japanese builds rank among the best in the world.

All of which means that the timing couldn't be better for the return of Tokai to US shores. The firm has signed a new distribution deal, meaning its vintage Fender-style builds will be available in US stores and looked after by a new Texas-based customer support team.

First off the boat, is a trio of the Goldstar S-style, Breezysound T-Style and Hard Puncher (P-Bass-style) models. The S-style will have a choice of vintage spec or a hot-rodded HSS variant. No word on prices yet (a theme of this year's show) but they'll be rolling out later this year.

Janelle here – back with the buzziest news from NAMM.

Who would have expected the “humble” nylon-string guitar to turn into a trend? Following Tosin Abasi's link-up with Córdoba, Polyphia virtuoso (and OG nylon string wielder) is continuing to build on the trend with a brand new Ibanez signature model

The TOD100N and TOD100FMN come waltzing with new Fishman pickup systems, tonewoods, and looks – looking to go one better with this next generation of guitars.

Henson’s first signature nylon-string electric acoustic, the Ibanez TOD10N, arrived in late 2022 and quickly became a best-seller on Reverb... and it's safe to say it was one of the catalysts that kickstarted a nylon-string revolution, especially for the contemporary experimental and prog world.

This new launch simply proves that the Ibanez-Henson partnership wants to remain ahead of the curve.

Love ’em or hate ’em, ChatGPT and AI chatbots are here to stay… and the premise is now being applied elsewhere, i.e., guitar pedals.

Polyend has unveiled the Endless pedal: a fully customizable, open-source effects pedal that allows players to continually create new effects. No coding knowledge is required.

Hinging on an almost ChatGPT-like premise of “if you can describe the effect, you can make your own,” Endless boasts a custom-machined aluminum enclosure, magnetic, swappable faceplate, a stereo 48 kHz / 24-bit audio path, and, apparently, no sonic limits.

In short, it's the first pedal to spew out effects from user-generated descriptions, with reverbs, overdrives, and loopers all available, right through to amp sims, or something that colors outside traditional lines.

And if that has piqued your interest (well, I, for one, am intrigued), check out the video below…

Signature guitars are all the rage at this year's NAMM... and, more specifically, affordable versions of well-known (or even lesser-known) signatures...

Sterling by Music Man is continuing this (very welcome) trend by announcing affordable versions of Jason Richardson’s Cutlass signature guitar, arriving in six- and seven-string formats, without overly sacrificing its top-line specs.

Being a Music Man, its $3,599 / $3,799 price tag – depending on the string count – was no surprise, but by no means accessible to all. That makes the Sterling variant’s arrival much anticipated. And it looks to have tweaked the Music Man recipe without too much compromise, resulting in a more broadly welcoming $949.99 outlay.

And we have more signature guitars... this time, by way of ESP.

The brand is rolling out eight signature models from some veritable shredders, including Gojira’s Grammy-winning riff monster Joe Duplantier, Children of Bodom's Alexi Laiho, Slayer’s Jeff Hanneman, Slaughter to Prevail’s Jack Simmons, Slipknot’s Mick Thomson, Deftones’ Stephen Carpenter, and ’80s shredder supreme George Lynch...

For those who, like me, are suckers for soundscapes and vibes, Old Blood Noise Endeavors is jumping on the bandwagon of pedals like Walrus Audio’s Qi Etherealizer Pedal and Chase Bliss' MOOD with Parting – its own experimental glitch delay/reverb machine.

Developed in collaboration with musician, social media influencer, and YouTuber Emily Hopkins (Emily the Harpist), the pedal promises vibes for days... a.k.a to “enhance the granularity and ambience of most pedalboard soundscapes.”

It combines chance-based delay or reverb, modulations, degradation effects, and randomized clock changes to offer “pleasant surprises at each turn of a knob.” And for maximum integration with any type of rig, it comes fully equipped with stereo in and out, trails or true-bypass switching, expression control over every knob, MIDI control, and, of course, presets galore.

Jackson here! Earlier this week, we told y'all about Molly Tuttle's two new signature Martins. At the show, the acoustic maestro was kind enough to give us a tour of the models – a D-18 and a more affordable D-X2E – herself.

The premium model is inspired by her treasured 1943 D-18, and she’s also bringing the 1940s neck profile to the more affordable X-Series for the first time. Oh, and how about those moon phase inlays!

Seymour Duncan had already had a pretty big January anyway, with the release of the Slash 3.0 signature humbucker set, a recreation of the pickups the top-hatted guitar great had fitted to the Gibson SG he used at Ozzy Osbourne's Back to the Beginning show.

Now, the company has unveiled the 50th Anniversary Limited Edition JB / Jazz Humbucker Set, which celebrates the company's roots via period-correct parts such as butyrate bobbins and rough-cast magnets. Retro tonehounds'll love this one.

Mike here – I've just wrapped an always informative chat with Paul Gilbert over in Ernie Ball's secret (and mercifully quiet) room. He let me in on the most dangerous bend you can attempt on the guitar, and why he just started using 7-gauge strings. You guys aren't ready.

Ernie Ball Music Man made quite a splash a few years ago with its announcement of the DarkRay bass – a StingRay with onboard fuzz and distortion effects from Darkglass Electronics. The bass even – alongside volume, bass, treble, and blend controls – has a gain knob with an LED ring around it that glows red or blue depending on which gain voice you're using.

Set to come out in a few months' time, the DarkRay II builds on its older sibling's template with new, fully integrated octave up and octave down effects. Oh, and that octave knob? It also has an LED ring around it that glows depending on how you deploy it. I mean, how cool is that?

Everyone's chatting about the Neural DSP Quad Cortex mini, but let's give some love to the AM4 – Fractal’s newest launch that puts its acclaimed tech into its most accessible form factor yet.

I'm a sucker for the Nano Cortex, but I (MO) was hugely impressed here. I've never actually played a Fractal, but I only ever hear good things (I have a friend who swears by his). Very responsive, very dynamic, very nice effects.

What does the future of AI in the guitar pedal industry look like? Well, it might look like the Polyend Endless – a do-it-all hardware pedal that turns prompts into actual, usable effects.

I asked it to build a lo-fi tape echo and, after a follow-up prompt, it delivered the goods. The stock Memory Cloud effect also sounds really convincing. Oh, and it won Best of Show this year. No biggie.

Hello, Matt P here. I just want to tip the cap to Surfy Industries’ extremely cool Beach Boys Pet Sounds Compact Reverb.

It’s the firm's regular Compact Reverb, rebadged and officially endorsed with Pet Sounds artwork, ready to roll out in May as a limited edition build in time for the 60th anniversary of that landmark album.

The Compact might not seem that compact, but it is notable for being a genuine, real-deal spring reverb (as in it has an actual spring inside) that will fit comfortably on your pedalboard.

It's also the last time you'll be able to buy the regular Compact from Surfy Industries, as it's being discontinued in favor of the Deluxe model. As a Beach Boys fan, I wants it...

It's JB on the mic (Janelle)... bringing you more goods this NAMM Sunday.

Third Man Hardware usually has a treat in-store for NAMM and this year it's a historic artifact... a.k.a Jack White’s NFL Lions Triplecaster, as used in his special NFL halftime show with Eminem during Thanksgiving.

We caught up with the guys from Third Man Hardware to get the lowdown on how this guitar came about...

Sterling by Music Man is continuing to serve budget-friendly this NAMM... and we absolutely love it.

The brand just launched its own version of Cory Wong's StingRay II (fun fact: the Music Man version was announced at last year's NAMM), and it's a lot of guitar for just a fraction of the OG's price. Expect it some time later this year (date TBA)...

And if you're in the market for a baritone, Sterling by Music Man has just rolled out its first-ever baritone guitar. Featuring a 27.5” scale, 24 frets, and B-standard tuning, this all-new model promises to deliver “a deeper low-end presence within the StingRay lineup.”

Our team in Anaheim had the opportunity to go behind the scenes at Gibson's invite-only preview room at NAMM... and managed to get an exclusive sneak peek at some very tasty Custom Shop models.

Elite craftsmanship was on full display (and oh, there’s even a mysterious offset prototype…), making the perfect case for why guitar builders are indeed bona fide artists.

Speaking of bona fide art pieces and , well, I cannot help but mention GW editor Mike's encounter with the actual guitar used by Nigel Tufnel in Spinal Tap II.

And yes, it comes fully equipped with a cheese/grater compartment (perfect for a mid-gig snack)...

And, what better way to test a new preamp than to have Nathan East, arguably the most recorded bass player in history, put it through its paces?

Laney has just launched the DB-EAST-PRE and its backstory takes us back to Laney’s Digbeth DB500H bass amplifier, which East began using in 2023. That led to the birth of a signature head, the dual-input DB-EAST, last year, and that “unprecedented flexibility” has been transferred into this smaller, but no less powerful, version.

“The Digbeth amp was loved at first sight,” says East. “We ended up taking it down to the Royal Albert Hall, and played a concert with it [with Eric Clapton] the following night.

“The DEB-EAST-PRE is a preamp with all the goodies in it. It's a total game-changer again. There's a lot of information packed into this little box.”

The guitar tone in Chris Isaak's Wicked Game is a classic... and the model behind that tone, the Silvertone 1446 semi-hollow electric, is being reissued for the first time in decades.

The new-and-improved model features some contemporary upgrades (of course). Its original “2×4 lumber” neck profile has been re-engineered, delivering a modern-taper soft C-shape, while a chambered center-block maple body improves sustain, reduces feedback, and bolsters its dynamic range.

Its electronics pay tribute to the OG, however, with P19 mini humbuckers that have been painstakingly recreated in order to emulate the iconic tone.

And this one's for all the buskers/street performers out there...

Roland is rolling out its latest battery-powered PA solution, with “class-leading tools” designed for gigging musicians and street performers alike.

The Cube Street Mini is dinky, easy to carry, and battery-powered (via an onboard rechargeable battery with a seven-hour playtime) setup. What's more – it's also designed to handle multiple instruments, with an onboard dial for a more dedicated tonality via modes for acoustic guitars, keyboards, electric guitars, and vocals.

Ernie Ball always knows how to make strings FUN, and this year, it introduced Ernie, its ingenious take on the old Zoltar fortune-telling machine, best known from the Tom Hanks flick Big.

Push the button and it will tell you your lucky string gauges. Mine were 10-13-17-30-42-52. I feel suddenly compelled to buy a set of Skinny Top Heavy Bottoms…

British amp firm Blackstar's NAMM was highlighted by the introduction of its ID:X Digital Floorboard series, a high-powered floor modeler series that takes aim straight at the Fender Tone Master Pro.

In tandem with this announcement came that of the company's new Artist FR series of FRFR speakers, designed to give users of the ID:X – or, obviously, the Quad Cortex, Tone Master Pro, etc. – a realistic, tube amp-like response. They come loaded with onboard EQs, and 50 or 100 watts of power, depending on your choice of model. Good for bridging the gap between traditional and more 2020s-era rigs, we reckon.

Earlier this week, we told you about Casio’s phenomenal, strap-mounted Dimension Shifter, a device that lets players control effect parameters with their movements.

On the show floor, we kindly got the fine folks at Casio to give us a tour, and show us how it, well, actually works.

With the introduction of a more affordable version of Cory Wong’s signature StingRay II, its first ever baritone, and a scaled-back version of Jason Richardson's signature Cutlass, Sterling by Music Man has had one heck of a NAMM to crow about – and there's more, too.

An HSS version of Steve Lukather's ever-popular Luke signature model, sweet new finishes for the Cutlass Plus and StingRay Short Scale bass, and a new SUB Series StingRay Plus bass, are all in the cards for 2026.

Hello, Matt P here, back with the final day of our NAMM live blog. It's official. NAMM is truly over.

The music-making industry has left the building, the breakfast bars of Anaheim contain 90% fewer conversations referencing “true-bypass” and Team GW’s intrepid (and, at this point, somewhat fetid) roving reporters have been vanquished back to their cable-laden caves in the US and UK.

Worry not, though. I still have a very rock 'n' roll spreadsheet, laden with new gear to tell you about, so I will continue to hurl the most exciting parts of that directly into your eyes and ears until the close of play today...

One thing I've been keeping an eye on since spotting the teaser posts last week is this lovely new tube head from Two-Rock, the Studio Overdrive.

The brand has a rock-solid reputation for its boutique builds, and this looks like one of its most user-friendly and gain-y units yet. It’s a two-channel 35-watt design, based around a pair of 6L6 tubes, with a cascading overdrive channel and a buffered effects loop. So it’s no-nonsense setup, but then there’s a trio of mini-switches that offer additional tone sculpting options.

Two-Rock describes it as “fast under the fingers and confident in any setting”. I could certainly do with more of both of those attributes in my playing, so I’m pretty sure spending the $3,799 is definitely going to fix that for me...

Vertex Effects’ Mason Marangella and Gator Cases have teamed-up on a new “unified pedalboard” system that offers a high-end alternative to the slew of ‘all-in-one’ pedal kits that proliferate on Amazon.

There’s some smart design tweaks in here, as you’d hope from a pro of Marangella’s stature, –including risers that flip up to house power supplies, or the option to mount them below the ’board – and durable 8-gauge aluminum frames.

The trio of options are all available with tailored gig bags and bundled with fasteners, too, making it a truly one-stop shop. There’s also talk of hard cases to follow. Prices start from $199.

Blackstar undeniably have the chops when it comes to tone, but I don't usually find myself drooling over their designs. Until now.

The TV-10A and TV-10B are undeniably beautiful 10-watt tube-amp heads (each available with a complementary Celestion-loaded cab), based around their combo predecessors.

The ‘A’ uses an ECC83 preamp tube paired with a 6L6 power tube and is aimed at “players seeking the characteristically bright clean sounds and hot lead tones associated with American Class A amplification”, so expect ‘MESA’-style gain to be the order of the day here.

The ‘B’ meanwhile harkens back to Blackstar’s British base, channeling Marshall-like tones from a combination of ECC83 preamp and an EL34 power stage tubes.

Both have built-in reverb and effects loops, plus emulated line outs that take the signal after the power stage, to nail that tube tone with easy connectivity.

The heads will retail at $749.99, with the cabs at $499.99. Head to Blackstar for more.

Martin has gone and done ‘a Gibson’, savvily splitting its newly overhauled Road Series into Retro and Modern lines, to reflect its dual offering of both vintage-inspired classic (dreadnoughts, 000s etc) and more contemporary acoustics builds.

It’s not a refresh in the name only, either – 18 of the 20 instruments in the series have either been tweaked, or are new models, so there’s a lot to explore and, now, it is easier than ever to do so.

Prices start at $899.99 for a D-10 Retro Sapele, and run all the way to $2,099.99 for the DE Retro Plus Granadillo, with plenty in between...

All of that said, Martin has also slightly infuriatingly decided to throw some other model numbers in the mix, so the Mexican equivalent of a US Style 15, is a 10 Style, for some reason. Still, progress is progress.

May we request the simplification campaign hits up the good folk at Gretsch next...

Oh, for a glimpse inside the mind of Ola Strandberg. The founder of the Swedish guitar firm has been on a hot-streak for years now, having spotted a sizeable gap in the market for a luthier who wasn’t intent on forensically rebuilding mid-century models and then attacking them with their keys (jk).

Strandberg-the-man was on hand at NAMM to tell GW about his latest build, the grandly-titled Chameleon.

It’s a collab project with MIDI guitar maestros Jamstik that takes the firm’s Boden model and adds a MIDI pickup and a color-shifting finish to the mix, making it flexible on both the ear and eye...

Jackson here! Before we officially usher NAMM out with a grand fireworks display and a parade, I wanted to highlight juuuust a couple more things that came across my digital desk during the show.

Kepma's Elite Grand Auditorium F2S Lamplight acoustic stopped me in my tracks because, man, look at those inlays! The Nashville-based brand says that the fretboard is meant to represent the floors of a high-rise apartment building, with the inlays being the various lighting scenarios within that high-rise. Bringing cyberpunk to an otherwise classically-styled acoustic – you gotta love that.

Yamaha's NAMM was dominated by the release of the RS02CB – a recreation of Chris Buck's beloved custom shop Revstar – and the company's announcement of a mass-produced Pacifica single-cut.

There were also a couple of anniversaries to celebrate – the big 6-0 for both the FG9 acoustic and the aforementioned Revstar. Luxuriously-spec'd anniversary models were designed for both, and boy do they look beautiful.

Aaaaaand that just about wraps everything up! My colleagues who were on-site are back home and currently gathering their thoughts – and will soon report the things they learned, the trends they spotted, and their thoughts on where the industry is heading. Until then, though, thank you for following us on this great gear journey. 'Til next year!

NAMM 2026: Last year, in a Guitar World interview on YouTube, Chris Buck explained why he'd become a Yamaha Revstar man, after a lifetime of Strat loyalty.

“I just loved the idea of the Revstar being a new guitar,” he explained. “It wasn't an S type, it wasn't a T type, it wasn't a Les Paul, it was its own thing, and just such a simple, ergonomically kind of attractive guitar.”

Now, the electric guitar maestro has taken his relationship with the Revstar to the next level, teaming up with Yamaha for his own signature twist on the model, the RS02CB.

“My custom shop Revstar has been the beating heart of every record I’ve made and every show I’ve played since I first laid hands on it in 2020,” he says. “It hasn’t left my side, and has quite literally travelled the globe with me, from Cairo to California.

“The phrase ‘labor of love’ gets thrown around a little too often these days, but collaborating so closely with Yamaha to recreate my guitar over the past few years has been exactly that. I’m beyond thrilled to finally see it come to life. As much as it may be based on my guitar, this one’s yours.”

So, for starters, let's match Buck's model up with its standard Revstar Professional sibling.

The body's the same: maple top, carbon-reinforced chambered mahogany back. So is the neck: carbon-reinforced three-piece mahogany, rosewood fretboard, 12" radius, 22 jumbo stainless steel frets...

Move to the electronics, though, and things start to get more innaresting.

Buck's Revstar is loaded with a pair of custom-voiced P90s – that voicing features, Yamaha says, a “slightly lower output, allowing a clear, detailed response at lower volumes and a strong, open tone when driven.”

“There’s honestly nothing better than the sound of great P90-style pickups,” Buck says. “Dynamic, responsive, and the truest conduit between the acoustic resonance of the guitar and its electric voice.”

Elsewhere, the RS02CB features a wraparound bridge imported straight from Buck's custom model.

And of course, what would a signature model be without some personal visual flair? That sweet Honey Gold finish, and those classy inlays and amber hat knobs (a master volume and a master tone, with a three-way switch below them), also carry over from Buck's own number 1 companion. The man's signature is also affixed to the back of the headstock.

The Yamaha RS02CB comes with a deluxe gig bag, and rings up at $2,180.

For more info on the guitar, visit Yamaha.

NAMM 2026: Aria Guitars has announced a commemorative signature bass for the late Cliff Burton to mark 40 years since his passing.

The instrument, a reissue of the Aria Pro II Cliff Burton – which launched in 2013 with the approval of his family and Metallica – “honors Cliff Burton’s groundbreaking tone and legacy.” But isn’t purely sentimental, with Aria saying it has been “created for a new generation of players.”

Metallica’s golden-era bassist was a pivotal songwriting force in the band’s early successes, with tracks like (Anesthesia) – Pulling Teeth quickly embedding themselves into the instrument’s folklore. And while his death in 1986, aged just 24, cut the musician’s life tragically short, the impact of his work still lives on.

Though Burton’s talents never earned him a signature guitar in his lifetime, the 2013 release saw his go-to bass and unsung brand celebrating his legacy, with that recipe now revived and refreshed 13 years later.

Currently, details about the bass are scarce. It remains to be seen whether the same alder body, seven-piece maple/walnut through neck, and 24-fret rosewood fingerboard recipe has been altered. The 2013 model also rocked a solid brass tailpiece with 24K gold-plated saddles and a single Aria MB-V passive pickup.

It will be interesting to see how much of this has been tweaked to cater to modern bass rigs. Judging by the image Aria has posted on Instagram, it certainly looks to be a faithful recreation of the instrument that Burton made so iconic and lusted-over. It doesn’t look any less gold-plated either. Fancy.

Thankfully, with its unveiling set to take place at NAMM 2026, the wait won’t be long, at least.

Other Cliff Burto-themed posthumous releases have included a reissue of his Morley fuzz wah and a limited-edition beer, which raised money for the late Metallica bassist's scholarship foundation to support young musicians.

NAMM 2026: PRS has launched a surprise new signature guitar for Ed Sheeran, and the SE Cosmic Splash is a tastily specced hollowbody baritone limited to just 1,000 pieces.

That’s right, we got an Ed Sheeran baritone before GTA6.

Following on from signatures with Martin and Lowden Guitars, the Shape of You songsmith has linked up with PRS for a rather striking six-string with an extended 27.7” scale length.

Even wilder, it’s the first time PRS has ever made a hollowbody baritone guitar, save for the one-off Drive guitar it made with Sheeran for the new F1: The Movie soundtrack.

The unique visage of the PRS SE Ed Sheeran “Cosmic Splash” Limited Edition is a replica of one of Sheeran’s Cosmic Carpark paintings from 2025. The series of artworks helped raise funds for the Ed Sheeran Foundation, which helps support music education across the UK.

Meanwhile, its fretboard inlays, featuring play, pause, rewind, fast-forward, and stop symbols, nod to the Englishman’s new Stereo series of albums, which kicked off with Play last year.

But it’s not just about the aesthetics. The guitar is saddled with a collaborative PRS/LR Baggs Piezo system, 85/15 “S” pickups, and the ability to blend those two voicings, or isolate one from the other. Onboard controls give players autonomy over Magnetic Volume, Piezo Volume, and Tone, with a three-way pickup switch also in play.

Beyond that, there's a PRS adjustable stoptail bridge with six saddles, and PRS-branded lightweight tuners – whilst a shallow violin carve merges with a flatback body, for the best of acoustic and electric guitar characteristics.

Tonewoods see a mahogany body paired with a maple top, a set maple neck with a “wide fat” shape, and a 22-fret rosewood fingerboard with a 10" radius.

“A PRS hollowbody baritone has never been done before,” says loop pedal whizz, Ed Sheeran. “It's super special. I've been using it all tour, and I love it.

“It's a limited edition, so it will go fast,” he adds, “but there's more to come, so stay tuned.”

It comes in Standard B tuning (B-E-A-D-F#-B) with a gig bag and a signed 8x8" print of the Cosmic Splash artwork, all to the tune of $1,599.

See PRS for more.

Alongside the arrival of John Mayer's Grateful Dead PRS Silver Sky, the launch sees Paul Reed Smith's company off to a promising start in 2026.

NAMM 2026: Synergy Amps, which has long looked at the amplifier world in alternative ways, has debuted its new machine-learning power amp technology for “a no-compromise amplifier solution.”

The tech is debuting in two new products, both of which offer the travel-friendly sizing while being powered by machine learning that tracks your cab's behavior to react as a tube amp would. Packing impulse responses too, no cab is needed to enjoy its magic.

As amp modeling rigs become increasingly dominant features in the contemporary gear landscape, every firm has been trying to get the perfect blend of modern, digital innovation with the authentic feel and sound of tube amps.

Neural DSP has invented a special amp capturing machine, TINA, to do so, and Vox’s new Valvetronix amps prove that hybrid, best-of-both combo amps can also be a viable solution. Now, Synergy has offered its own answer to the conundrum.

In short, the new tech is designed to “combine the convenience, light weight, and power of class D, with the tone and feel of tubes,” and Synergy has partnered with some big names to bring it to life.

It's teamed up with Brian Wampler, of Wampler pedals, for the Wampler Pedalhead – a pedalboard-friendly 240W (60 tube watt equivalent) stereo power amp with IR loader, MIDI, and six power amp models.

Beyond that, there’s the Dave Friedman IR-Load, which saw SatchVai Band’s other guitarist, Pete Thorn, involved. It’s an all-in-one 360W (90 tube watt equivalent), stereo power amp/load box/attenuator/IR loader/MIDI.

So what makes the tech so special? As Synergy explains, tube amps boast touch sensitivity and harmonic complexity thanks to two factors: the nonlinear behavior of their vacuum tubes and the real-time interaction between the amp and its speaker cabinet.

Class D amps, meanwhile, have improved the portability and efficiency of amps, but Synergy argues that their inherent low-impedance output stage makes mimicking a tube amp properly rather difficult.

“Synergy’s invention takes a fundamentally different approach,” it says, “combining high-efficiency, low-impedance Class D output stages, advanced digital signal processing, and a proprietary, patent-protected Machine-Learning system that continuously measures voltage and current in real-time at the speaker output.”

What that means is when you plug into a cab, the tech quickly learns its impedance through “controlled sweeps.” Monitoring continues in real-time, adapting as it does to mimic tube amp behaviors, including sag, compression, frequency-dependent damping, and harmonic richness.

The Wampler Pedalhead is big for a pedal, but small for something that is ostensibly a tube amp in a box, with simple controls.

There's a Master Volume alongside knobs for the DI Level, Presence, and Depth, providing a solution when a cab proper isn't available. Its IR loader can be bypassed via a mini-switch, and there's a switch for Mode/Store, but it doesn't create amp tones in itself; rather, it gives your rig tube amp-like realism while other gear handles the rest.

The Friedman IR-Load, available in head and rack-mounted formats, does likewise. There are stereo controls for Reactance, IR Level, Depth, and Presence for each side, as well as IR bypass mini-switches, an Amp In dial with a -10dB and +4dB mini-switch, and a headphone port and volume control.

The products will be officially showcased at NAMM tomorrow (Jan 22), and at the time of writing, there are no prices listed.

However, what's clear is that this is a fresh way of looking at the tube amp tones versus modeler portability problem, and it looks like it can live in rigs alongside amp modelers of all kinds. It's not gunning to replace them; it wants to make them sound better than ever before.

Keep your eyes on Synergy Amps for more.

NAMM 2026: Orange is rolling out its latest UK-built all-tube guitar amp head, the OR60, and it’s one inspired by vintage tones through and through.

The single-channel, 60 watt amp promises to deliver a “focused, harmonically rich valve tone with a modern edge.” This is made possible via a pair of 6L6 power tubes, which give the head extensive headroom and depth, especially when coupled with a boost pedal in front.

A second footswitchable volume control empowers players to switch between rhythm and lead without touching the gain – allowing the core tone to remain consistent, albeit for dynamic changes. Plus, the switchable 460V/335V (60W/30W) output ensures the amp still packs a punch, even at lower volumes.

Tone-shaping and fine-tuning options are provided via dedicated Presence and Resonance controls. The former adjusts the high-end response for “consistent clarity and harmonic definition,” while the latter enables players to adapt the amp's feel and depth to their playing style.

And for those who need a little bit more control over their tone, the three-position Bright switch provides just that. Essentially, it allows guitarists to shape the amp’s top-end voicing without altering the overall gain character, which is especially useful with humbuckers or darker-voiced guitars.

As for the amp's simple design? Well, according to Orange, that’s its biggest selling point: “just the straight-up, high-voltage voice of a masterfully designed single-channel amp, ready to be played raw or augmented with the valve-buffered FX loop,” and goes as far as to say that, “the OR60 is the most versatile single-channel amp Orange Amps has ever built.”

Priced at $2,499, the amp head is available in the firm's quintessential orange Tolex finish.

For more information, visit Orange.

And, speaking of straightforward amp setups, Joe Perry recently revealed he used a $219 Orange pedal amp to record most of the guitars on Aerosmith’s new EP with Yungblud.

NAMM 2026: Vox is celebrating the 25th anniversary of its Valvetronix series of hybrid amp modelers by releasing its most advanced iterations yet: the VT20X and VT40X.

It’s the Brian May-backed firm’s answer to modeler combos like the Boss Katana and the Positive Grid Spark 2, and these two new creations, like their competitors, are designed to blend “the authentic feel of classic tube amps” with the flexibility of digital tonality.

At its heart is a combination of Vox’s “sophisticated new amp modeling technology” and a multi-stage tube preamp circuit, for traditional touch sensitivity and dynamic response.

As such, it aims to stand out from the dense pack by recreating the analog circuits of a selection of coveted tube amplifiers – from a Marshall JCM 800 and a Mesa/Boogie Dual Rectifier, to a Fender Tweed, and, of course, a Vox AC30 – at a circuit level rather than relying on snapshots, as Neural DSP’s TINA does.

Considering that nearly all of Reverb’s best-selling amps in recent years have been modelers, this selling point is what their success hinges on.

“This deep level of modeling allows musicians to adjust gain structure, switch between Class A and Class AB operation, and fine-tune the amplifier bias in real time,” says Vox. Thus, “producing subtle tonal shifts and responsive interaction that behave like genuine tube circuitry.”

That’s why its 12AX7 tube has been integrated further into the signal path than it was in its predecessors, enhancing its warmth and natural compression, and making it far easier to create edge-of-breakup guitar tones. The idea is for these amps to look and perform like old-school Vox amps, while having a host of different amp-replicating sounds to get your teeth into.

Each amplifier, Vox says, is housed in a tightly sealed cabinet featuring its proprietary bass-reflex design, built for extended low-frequency depth and projection, “ensuring the amps sound full, controlled, and present in a range of environments.”

Pair its in-built amp models with “classic effects inspired by iconic stompboxes,” including chorus, compression, flanger, and a variety of reverb flavors for what Vox hopes will be a one-stop-shop piece of gear.

Each model, distinguished by its output – 20W via an 8” speaker versus 40W through a 10” speaker – offers an in-built tuner, a USB port for direct connectivity, an aux input for external audio sources, like your phone, and a headphone port.

Its Classic Blue aesthetic and vintage-inspired blue grille cloth, meanwhile, pays homage to the first of the series, which arrived way back in 2021.

“With deeper tube integration, refined circuit-based modeling, expressive tonal flexibility, and practical player-focused features, the new VT20X and VT40X reimagine the hybrid amp experience for a new generation,” says Vox.

The VT20X is available for $279.79, while its bigger, louder brother rises to $399.99.

Check out Vox for more info.

For more from Vox, see Guitar World's review of its AC30X, AC15X, and AC4 Hand-Wired amps.

The wafflemakers of Anaheim are warming. Dazzling glitter finishes are being applied to awe-inspiring shred machines. Tubes are being toasted. Pedals chained. Promotional picks packed into tiny jeans pockets and bassists are pickling their slapping thumbs to make them extra hard. Yes: NAMM is back.

After a year that’s seen the trade pulling together in the face of shared challenges and with NAMM taking a leading role in lobbying Congress, our sense is of a stronger sense of unity among firms in 2026, or at least an agreement to split the costs of a laminator. Rest assured though, they’ll still be competing for our eyes and ears at the year’s biggest gear showcase.

Guitar World will be keeping you abreast of all the key guitar, amp, pedal, modeler and bass announcements right here, both in the run-up to the event and across the NAMM show itself (January 20-24, 2026), with our team on the ground in Anaheim.

Bookmark the heck out of this page, and it will be your one-stop shop for all the breaking news throughout NAMM – before, during and after the show – until the close of the month. If it’s not here, it’s not important – or we just haven’t got to it yet because we’re face down in our laptops having a small but mighty power nap.

2025 was a genuine return to form for NAMM, after a few shaky years, in which big firms abandoned ship at an alarming rate. Now they’re mostly back onboard, albeit in reduced footprint, or in a backroom capacity. Fortunately, after many tours of NAMM, we’ve gotten quite good at finding those rooms.

So stick with us, and we’ll take you along for the ride, as we try out the most exciting new guitar gear, step through the big firms’ mystery doors for exclusive peeks at their latest line-ups, and check in with some of the A-list guitar talent that the world’s biggest music-making event attracts.

NAMM 2026: Electric guitars

- Gibson has also paid tribute to rock 'n' roll royalty by releasing a Collector's Edition replica of Keith Richards' go-to six-string – his 1960 ES-355.

- Gibson is also testing out a brand new concept offset guitar design – the retro-futuristic Atomic Age.

- Gibson also, in its full new-for-2026 lineup, unveiled some ‘50s and ‘60s-inspired reissues and signature models for classic rock gods of the days of old (Mick Ronson, Michael Schenker) and new (Gary Clark Jr.) alike.

- Donner is launching what it’s called “the ultimate headless guitar”, the HLX-500. Certainly looks familiar, eh? Elsewhere, it’s updated its Hush headless guitar models with a quintet of new finishes, while the original HUSH-I – launched at NAMM 2022 – has received an upgrade with the VHUSH I EVO2.

- In terms of bang for buck, you’d be hard-pressed to find anything that can match Harley Benton’s ST-Modern Carlos Asensio signature model. The YouTuber’s Superstrat has rolled fingerboard edges, Luminlay side dots, roasted maple neck and a Vega-Trem VT1 Ultratrem for under $700.

- Ibanez has unveiled its most 'prog rock' guitar to date with the launch of the Alpha Series. It's giving serious Abasi Concepts/Ernie Ball/Strandberg vibes, and we are so here for it.

- Ibanez has teased its first raft of signature models for 2026, including the long-awaited Nili Brosh RG, plus fresh Nita Strauss, Joe Satriani, Steve Vai models and more.

- Kiesel is showcasing its all-new Aero range of electric guitars. They kinda look like Sci-Fi, space age S-styles. That grated pickguard looks pretty darn cool, too.

- PRS' early 2026 lineup includes a long-awaited Mojave Brown Satin Silver Sky, a brand-new S2 Vela HHT, a load of new-look models, and some key wholesale SE updates, including new tuning pegs and pickup rings.

- PRS also has launched a surprise new signature guitar for Ed Sheeran, and the SE Cosmic Splash is a tastily specced hollowbody baritone limited to just 1,000 pieces.

- Silvertone is back, and it's back with a bang, reviving the uber-cool 1478 offset, semi-hollow 1446, and the oddball 1449.

- Epiphone and Fatoumata Diawara have made history together, unveiling the brand’s first signature model for a woman of color. The $699 Epiphone Fatoumata Diawara signature SG is loaded with a heap of switching options and just look at that artwork...

- Epiphone also gave us a look at its full new-for-2026 lineup: Futuras, stainless steel frets, and signatures, oh my! In all seriousness, though, the menu of six-strings shows that Gibson's budget-friendly sister company is serious about bringing bigger and better specs to lower price ranges, thereby giving players exactly what they want.

- Yamaha hit the event early with two big announcements, reviving its lesser-spotted T-style Pacifica SC, under its popular Professional and Professional Plus lines, and unveiling a major signature launch, with the arrival of the Chris Buck RevStar RS02CB.

- Revered Japanese brand Tokai is making its return to US shores later this year, with a trio of high-end Fender-inspired builds, in the form of the GoldStar S-style, Breezysound T-style and Hard Puncher P-style bass. There’ll be a new US customer support center, too.

- Ever-innovative Swedish guitar firm Strandberg has turned to Jamstik for its latest collaborative release, and the Strandberg x Jamstik Chameleon puts its electric guitar design on a collision course with full polyphonic MIDI functionality.

- Ciari has bent over backwards forwards to make folding guitars palatable with the Ascender line – now its unveiled the most flexible yet, with the Ascender Trio Plus. No, it's not extra bendy, but it does have three Seymour Duncan pickups available in HSH, HSS, and SSS configurations. It’s available for $2,199.

- A whole host of signature guitars comes by way of Suhr. The brand's 2026 lineup includes signature with Good Charlotte's Benji Madden, Lady Gaga sideman Tim Stewart, Pete Thorn, James Norbert Ivanyi, Ian Thornley, and Andy Wood.

- Reverend Guitars is introducing the Air series for 2026, featuring four new semi-hollow models in the Charger, Kingbolt, and Roundhouse lines. Each one prioritizes “classic tone, modern playability, and standout looks.” The brand is also making over – and introducing updated models to – its Charger, Kingbolt, Descent, Sensei, and Roundhouse lineups.

- John Mayer and PRS have announced the limited edition Wild Blue Silver Sky – inspired by luxury watches – and a certain jeweler’s iconic turquoise. It’s limited to 1000 units, which will roll out across 2026 and is the first to feature a matching headstock.

- Duesenberg has rewarded Taylor Swift's long-serving guitarist Paul Sidoti with a signature model – the Alliance Paul Sidoti. It's based on the Paloma Custom, but has nickel hardware and a gorgeous custom Catalina Blue finish (due in Spring).

- Sterling by Music Man has announced affordable versions of Jason Richardson’s Cutlass signature guitar, arriving in six- and seven-string formats, without overly sacrificing its top-line specs. The brand is also rolling out a budget-friendly version of Cory Wong's StingRay II, plus its first-ever baritone guitar, an HSS version of Steve Lukather's ever-popular Luke signature model, and sweet new finishes for the Cutlass Plus.

- ESP Guitars has unleashed eight new signature guitar models into the world, promising something for everyone, as late greats and artist debutants are celebrated – while its mid-priced LTD Deluxe 1000 Series guitars are touted as “among our best in history.”

- In addition to its other, high-profile releases, Yamaha celebrated the Revstar's 60th birthday with a beautifully-spec'd, limited-edition model.

NAMM 2026: Effects pedals

- The JHS Pedals x Electro-Harmonix Big Muff Pi 2, sourced from a long-lost circuit schematic, was one of 2025’s coolest pedal launches, and will be out in the wild at the show.

- Electro-Harmonix has also just unveiled the potentially game-changing Effects Interface Hardware Plugin, which turns pedals into plugins and vice versa without the need for converters, re-amp boxes and complex cable setups.

- Neural DSP might have already won the NAMM game this year, taking another quantum leap in modeling by launching the Quad Cortex mini – packing the full processing power of the Quad Cortex, plus a touchscreen into 8.9” x 4.5” footprint.

- Strymon is the king of digital pedals. But the Fairfax marked its first foray into fully analog stompboxes – a Class A output stage drive pedal that’s “a complete miniature amplifier in 100% analog form”.

- Death By Audio’s Destroyer Series looks so, so awesome. Reverb, delay, phaser and fuzz effects are on tap – the company is calling them the “family of beautifully chaotic stereo tone machines”.

- Forget digital emulations of analog circuits. Dirty Boy’s Silver Boy is an analog version of a popular digital amp sim.

- The Nocturne is Keeley’s latest collab with Andy Timmons – a reverb pedal the virtuoso hails as “the most inspiring reverb I’ve ever heard”.

- J. Rockett’s Aqueous Chorus has distinct CE-1 vibes courtesy of a preamp and its BBD-style textures, but it can turn its hands to more modern tones, too.

- Crazy Tube Circuits will be channeling classic Orange fuzz and grind with the Orama twin-footswitch drive pedal.

- EarthQuaker Devices and Dr. Z have put their heads together for the ZEQD-Pre – a tube-loaded preamp pedal that might just be the tonal tool your digital rig has been crying out for. With a pristine EF86 tube, it promises to inject genuine valve warmth to any signal chain.

- Collision Devices is looking to satisfy our hunger for tasty pedal drops with the Snack Series, which comprises bite-sized fuzz, pitch and delay 'boxes that sound as good as they look.

- Nuclear Audio has perhaps pioneered an industry-first with its Fission Drive. True to the name, it splits your signal in two and injects adjustable levels of gain to the two separate frequency bands. Very gnarly.

- DSM & Humboldt have followed its fan-favorite (and widely acclaimed) Simplifier analog amp modeling pedal with the Dumblifier. It does exactly what it says on the tin: offers authentic, non-digital tube amp tones inspired by the mythical Dumble Overdrive Special.

- Boss has moved to take control of the beginner amp modeler market with the $229 GX-1 – and it looks a total breeze to operate.

- Ibanez is hoping to reassert its presence in the world of high-end effects pedal with the Layer Delayer – a wild echo machine that serves as its most ambitious stompbox to date.

- Having previously teamed up with Jack White, Donner has now teamed up with Japanese guitar sensation MIYAVI to create a pair of signature stompboxes that each boast a three-pronged attack of effects.

- Speaking of Donner and high-profile collaborations, the company also worked with versatile guitar great Ruben Wan to create another pair of signature pedals – a chorus and a distortion. You can watch our own Paul Riario take them for a spin here.

- Poly Effects and Josh Smith have released their latest boundary-pushing effects pedal, the Kanso.

- Vox has ramped up its pedal arsenal with the VFZ-1 and VTB-1. The first is inspired by the the Maestro Fuzz-Face, while the latter takes cues from Rory Gallagher and Brian May's favored Treble Booster.

- Walrus has expanded its Canvas range of utility pedals with the impressively feature-packed volume pedal. The firm has also introduced a "first of its kind" Mantle analog bass preamp and DI box.

- Beloved YouTuber guitarist and producer Ryan “Fluff” Bruce is expanding his signature gear empire with a new overdrive pedal from Warm Audio: the Warm Audio Fluff Drive.

- Billy Corgan has condensed the tone of his $100,000+ Smashing Pumpkins rig into the new $629 Laney Black Country Customs Supergrace pedal amp – and he tells GW he’s even tested it in front of 60,000 My Chemical Romance fans...

- British metal heavyweights Iron Maiden are the latest to be honored with a signature Jim Dunlop Cry Baby Wah, with a special Killers edition of the iconic pedal paying homage to the band’s earliest days.

- British amp builders Blackstar has followed in the footsteps of Fender in transitioning into the amp modeler market with a series of “advanced DSP” pedals under the ID:X Digital Floorboard banner.

- The MXR EVH Modern High Gain was originally developed directly with Eddie Van Halen in 2015 and takes the ultra-high gain third channel of the EVH 5150III and tries to contain it in a pedal.

- Polyend has unveiled the Endless: a fully customizable, open-source effects pedal that allows players to continually create new effects – no coding required.

- Old Blood Noise Endeavors is launching its own experimental glitch delay/reverb machine – Parting – in collaboration with musician, social media influencer and YouTuber Emily Hopkins (Emily the Harpist), which promises to “enhance the granularity and ambience of most pedalboard soundscapes.”

- Surfy Industries is rolling out a limited edition Beach Boys Pet Sounds finish on its final run of Compact Reverb pedals. It's an official partnership and will arrive in Spring, ready for the 60th anniversary of said masterpiece.

- Laney has just launched the DB-EAST-PRE – a preamp crafted in collaboration with Nathan East, the most recorded bass player in history.

NAMM 2026: Guitar amps

- One big surprise that will be showcased at this year’s show is EHX’s ABRAMS100 (EHX) – a 100-watt solid-state head for under $300. Designed, obviously, for pedal users.

- Orange has rolled out the OR60 – an all-valve guitar amp head that it says is the “most versatile it has ever built.” It may look simple, but it promises versatility and a plethora of tone shaping goodness...

- Vox has added new Greenback combos to its premium Hand-Wired amp family (Vox).

- And, speaking of Vox, the firm is celebrating the 25th anniversary of its Valvetronix series of hybrid amp modelers by releasing its most advanced iterations yet: the VT20X and VT40X.

- Audio giant JBL has entered the ever-expanding AI guitar tech fray, and the company's first swing is a big one. The company's newest creation, BandBox, is an AI-powered smart practice amp and portable speaker. Most intriguingly, that AI tech, JBL says, can provide real-time vocal and instrument separation. This could really change the way guitarists practice...

- Synergy Amps, which has long looked at the amplifier world in alternative ways, has debuted its new machine-learning power amp technology for “a no-compromise amplifier solution” – showcased via two new offerings with Wampler and Friedman.

- Slash has added the Lil’ Viper – a lightweight amp with a size-defying sound – to his collection of signature Magnatone gear.

- Divided by 13 and guitarist/producer Butch Walker have unveiled the BW 1969 head – a stunning British flavored all-tube build that enables you to hop between EL84 and 6L6 power tubes at the flick of a switch.

- Roland has introduced its latest battery-powered PA solution – the Cube Street Mini –with “class-leading tools” designed for gigging musicians and street performers alike.

- On the heels of the introduction of its ID:X Digital Floorboard series, Blackstar unveiled the Artist FR series of FRFR speakers, designed to give users of the ID:X – or, obviously, the Quad Cortex, Tone Master Pro, etc. – a realistic, tube amp-like response.

- There’s a tasty new head from Two-Rock, the Studio Overdrive. It’s a two-channel 35-watt tube amp build, with a 6L6 power stage, tube-buffered effects loop, a straight forward control layout and one of its gainiest designs yet. Expect a price tag of $3,799.

- Blackstar’s busy year continues, with the announcement of the TV-10A and TV-10B mini heads and cabs – offering American and British style tones, respectively – alongside built-in reverb, effects loops and emulated line-outs. The heads will be priced at $749.99 and the cabs will cost $499.99. More info at Blackstar.

NAMM 2026: Acoustic guitars

- Funnily enough, when Tosin Abasi last gave us an update on his long-in-the-works Abasi Concepts nylon-string model, it was NAMM 2025. Now, it finally lives. The Abasi Stage 7 is a joint build with nylon-string and Spanish guitar mainstay Córdoba. It's a 7-string model tuned from B to E, and features 24 fanned frets and Córdoba's Stage Pickup System. Not your grandpa's classical guitar, that's for sure.

- Taylor has lifted the curtain on what it's calling perhaps its most advanced acoustic date as part of a comprehensive unveiling of its class-of-2026 guitars. The Next Generation Grand Auditorium models are particularly intriguing, with new bracing, an all-new Claria pickup system, and that nifty Action Control Neck. A new benchmark in tone, playability and performance? Taylor thinks so.

- Two-time Grammy winner and bluegrass magician Molly Tuttle has finally gotten a Martin signature guitar, and it’s proven worth the wait, with two models arriving at once: the Martin D-18 and D-X2E.

- Ibanez and Polyphia virtuoso Tim Henson have reprised their successful partnership with two new versions of his immensely popular electric-nylon signature guitars: the TOD100N and TOD100FMN.

- Back in camp Martin, there’s a serious refresh for the Road Series, which has now been split into Retro and Modern lines, with 18/20 models being new or overhauled. The newly revamped line starts from $899.99.

- Nashville-based Kepma unveiled, among other models, the Elite Grand Auditorium F2S Lamplight. What really stands out about the model is its one-of-one inlays. Its fretboard is meant to represent the floors of a high-rise apartment building, with the inlays being the various lighting scenarios within that high-rise. Bringing cyberpunk to an otherwise classically-styled acoustic – you gotta love that.

- Yamaha celebrated the 60th anniversary of its classic FG9 acoustic with a celebratory, luxuriously-spec'd model.

NAMM 2026: Bass guitars

- Ibanez has brought back the Iceman bass guitar for the first time in almost 20 years. Hallelujah. It's not everyone's favorite Ibanez by any means, but it is beloved by Paul Stanley and Daron Malakian, so there's a lot of pedigree there. Now, bassists can get in on the fun. Everyone say, 'Thank you, Ibanez.'

- Aria Guitars has announced a commemorative signature bass for the late Cliff Burton to mark 40 years since his passing.

- Ernie Ball Music Man made quite a splash a few years ago with its announcement of the DarkRay bass – a StingRay with onboard fuzz and distortion effects from Darkglass Electronics. Set to come out in a few months' time, the DarkRay II builds on its older sibling's template with new, fully integrated octave up and octave down effects. Oh, and the octave knob? It has an LED ring around it that glows different colors depending on how you deploy it. How cool is that?

NAMM 2026: Pickups and accessories

- Seymour Duncan has released its third set of signature Slash pickups. They're the same humbuckers that were fitted into Slash's Back to the Beginning Gibson SG.

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

- Seymour Duncan is also celebrating a big milestone with its 50th Anniversary Limited Edition JB / Jazz Humbucker Set, which nods to the company's roots via period-correct parts such as butyrate bobbins and rough-cast magnets.

- D'Addario has, er, expanded its XPND family of pedalboards and accessories with the Pedal Pry Tool. We all know that trying to wrestle your prized pedals from the vice-like grip of a well-secured hook and loop fastening is the opposite of fun. The Pedal Pry Tool makes light work of removing pedals. Even more reason to buy some more stompboxes...

- Casio is unlocking a new world of expressive guitar playing with the Dimension Shifter, a device that clips onto guitar straps and allows users to wirelessly control effects, pedals, and move with their movements.

- Cleartone Strings introduces the all-new Power Series, engineered for “players who demand more power, clarity, and endurance from every note.” They’re built on a reformulated Nickel-Iron Blend and guarantee “a natural clean boost directly from your guitar – no pedals required.” They’re now available in gauges 9-42, 9-46, 10-46, 10-52, and 11-48.

- Vertex and Gator have teamed-up to offer players a dependable one-stop “unified pedalboard system” – complete with ’boards, bags and fasteners – and some clever design tweaks. No more scouring endless Amazon listings? We’re in.

Earlier this year, Fender's credit rating was downgraded by credit rating analyst Moody's, citing tariffs and increased financial pressures as key factors in its projection.

Now, according to financial information and analytics expert S&P Global, Fender increased prices throughout the first half of the year in an effort “to offset higher costs from tariffs, especially from China, which makes up 40% of purchases (half of which enter the U.S.).”

According to the report, Fender implemented a 5% price increase across its entire portfolio in an effort to weather the storm that has erupted following U.S. tariffs and broader global economic uncertainties.

The S&P Global report also notes that the sell-in (the sales from manufacturers to distributors) has exceeded expectations for retail partners such as Sweetwater, Guitar Center and Amazon, with higher-income consumers continuing to value the prestige of the Fender brand.

However, it adds: “Volumes continue to decline due to lower consumer discretionary spending, which we expect will continue throughout the remainder of the year.” S&P Global uses the example of smaller, locally owned U.S. dealers to illustrate this point, as such dealers continue to tightly manage their inventory amid a “weaker macroeconomic environment,” while consumers turn to the second-hand market or avoid discretionary spending altogether.

In relation to Fender's 5% price rise, S&P Global insists that the firm's approach to tackling such economic uncertainty has had some degree of success, proving to be more effective than some of Fender's closest competitors.

It continues, “Fender’s tariff mitigation strategy is proving more effective than competitors that have avoided price hikes and paused imports from China.”

For its forecast of Fender's immediate and short-term future, S&P Global reflects, “In 2026, we expect improving volume trends from new innovations, though we continue to expect subdued consumer sentiment resulting in minimal revenue growth.

“We expect dealers will remain cautious on increasing inventory levels because of a weak macroeconomic backdrop with lower discretionary spending on big-ticket items like guitars.

“Moreover, since Fender depends on favorable holiday performance, [its] risk volume declines are greater than expected, potentially due to weakening consumer sentiment or greater competition from the secondhand market.”

The report concludes with an expected “negative outlook” for the guitar brand, citing “weaker consumer discretionary spending and some lingering uncertainty around tariffs, which may cause Fender’s operating performance and liquidity over the next 12 months to deteriorate more than we expect” in its assessment.

These findings align with current trends in the musical instrument market. According to a recent study by the Peterson Institute for International Economics, from January to July 2025, “U.S. exports of musical instruments were 8.4 percent lower than the average over the same months in 2021–24,” in particular in markets such as Brazil, Canada, and China.

This study emphasizes that this downturn is not primarily the result of retaliatory tariffs – at least so far. However, a mix of “factors linked to tariffs and broader trade policy uncertainty,” increased cost to consumers and decreased demand for leisure goods, and, in cases, “conscious substitution away from U.S. products” has eroded the demand for U.S. musical instrument exports.

In May, NAMM CEO John Mlynczak gave Guitar World an overview of the challenges the American musical instrument market is facing amid the current trade war.

Mike Dawes has reflected on the time he missed out on meeting guitar hero John Mayer after his cover of Slow Dancing in a Burning Room went viral.

The acoustic guitar virtuoso is no stranger to putting his signature percussive fingerstyle spin on classic tracks, having covered everyone from Foo Fighters to Sleep Token. Speaking to Guitar World about his popular take on John Mayer’s Slow Dancing in a Burning Room from 2017, Dawes reveals he once came close to meeting Mayer himself – but failed to show up to the rendezvous when he slept in.

“I was invited to meet John Mayer. I've never met John Mayer – I've never met you, John, if you're watching,” he confesses, addressing the Slow Dancing songwriter directly. “I regret to say that the reason I missed that opportunity, from Paul Reed Smith himself around the launch of the Silver Sky, was that I slept in. That was the reason.”

John Mayer's signature guitar, the PRS Silver Sky, was launched in 2018, a year after Dawes dished out his viral Slow Dancing rendition. That means that, seven years later, the pair still haven't crossed paths.

“It was at NAMM,” Dawes details of the ill-fated meet. “Anyone who's ever been to the show can understand why one would want to sleep in. So I apologize. It was a public event, so it wasn't a one-to-one meeting or anything, but I do regret that.”

Dawes’ arrangement of the Mayer classic is a little harder to play than the original, but he reckons all players would benefit from wrapping their heads around the 2006 track.

“Having learned that song and dissected it in the way one does for a solo guitar cover, you really get to know a song,” he says. “The curse of solo guitar arrangements is that when you're really going through things so forensically and getting all the nuances in there, you don't want to listen to the song anymore. It ruins it for you.”

Mayer’s cut, though, proved to be an exception to the rule, and Dawes is convinced the “timeless” song is one every player can and should get under their fingers, calling it “a masterclass in songwriting.”

The percussive extraordinaire, who named Eddie Van Halen and Tommy Emmanuel as life-changing influences to his playing last year, has recently collaborated with Periphery and found himself going back to basics for his pedalboard on their recent tour together.

John Mayer, meanwhile, says he isn't rushing his next album despite having more than enough material ready. He's also been keeping himself busy working as a de facto gear influencer, having recently posted a surprise demo of JHS Pedals' new Mk.gee-coded 424 Gain Stage.

The CEO and co-founder of the Ohio-based off-kilter pedal makers EarthQuaker Devices, Julie Robbins, has shared that the business is at risk of going bankrupt by the end of the year as a result of recently enacted tariffs, which have reportedly increased costs and slowed sales for the company.

Robbins faced federal lawmakers last week (on May 14) during a speech before the U.S. Senate Committee on Small Business & Entrepreneurship, stating [as reported by Akron Beacon Journal], “We have perfect credit and we’ve never missed a payment, but we’re rapidly running out of liquidity.”

Alongside her speech, she also provided written testimony showing that, over the course of 2025, the tariffs would result in the cost per pedal increasing from 2 cents on April 27 to $12.80 on December 28th – a 640% increase.

Exporting the pedals has also proved tricky, especially since the company depends on overseas sales. The company typically exported 30% to 40% of its finished pedals to foreign markets and even received the distinction of Exporter of the Year from the U.S. Small Business Administration in 2019. However, this level of export activity has been detrimental in the midst of the current trade war.

“This year our exports are down as much as 50% to 100% in some countries,” the written testimony continues. “Our customers say this is due to anti-American consumer sentiment and the global financial fallout from the chaotic rollout of U.S. tariffs. It is devastating to see America’s reputation fall so swiftly.”

And, in addition to increased exporting costs, nearly all of the raw materials needed to make the pedals come from abroad – with about 75% of the raw materials coming from China.

According to Brad Thorla, EarthQuaker Devices's head of inventory systems management and purchasing, with the tariff percentages in flux, the company cannot effectively calculate what the actual costs of the raw materials will be once they arrive at American ports and go through U.S. Customs and Border Protection.

For Robbins and her husband, EarthQuaker president Jamie Stillman, losing the company is not an option – they have taken out $1.2 million across five loans for the company, along with putting their family home up as collateral.

Laying off any employees or cutting their pay or benefits is equally devastating. “My employees are so valuable to me,” she adds. “A lot of them have this institutional knowledge that will be so hard to replace. And they rely on their income from this job to support their families.” Robbins' suggestion? To either reverse the tariffs or exempt small businesses.

Last week, President Trump hailed a “total reset” in U.S.-China relationships – with the two global superpowers lowering their respective tariff rates for 90 days. The United States has decreased the tariffs on Chinese goods to 30% from 145%.

While NAMM (The National Association of Music Merchants) President and CEO John Mlynczak has welcomed these changes, he asserts that the current “30-percent tariff on imports from China as well as the 10-percent tariff on imports from all other countries” will continue to negatively impact manufacturers and retailers across the country.

Alongside EarthQuaker Devices, other companies have voiced their concerns about the tariffs. Electro-Harmonix founder Mike Matthews has noted that the company has enough inventory to weather the storm for a short time but will nonetheless inevitably be affected by the increasing costs if the tariffs persist. Meanwhile, Morgan Amps has confirmed that the tariffs will have a noticeable knock-on effect on amp prices.

President Trump has recently hailed a “total reset” of U.S.-China relations after the two global superpowers agreed to a 90-day pause on the escalating trade war, alongside a new round of trade negotiations.

Tariffs on Chinese goods will be reduced to 30% from 145%, initially for the proposed 90-day period. China will also slash its own retaliatory tariffs to 10% from 125% – a welcome change, according to NAMM President and CEO John Mlynczak, which will also impact musical instrument manufacturers and retailers.

“The de-escalation of tariffs on products imported from China is a welcomed relief for our industry, as the previous 145-percent additional tariff was unsustainable, especially for small businesses,” reads the statement posted to the official NAMM website.

However, Mlynczak asserts the current “30-percent tariff on imports from China as well as the 10-percent tariff on imports from all other countries” will continue to negatively impact manufacturers and retailers across the country, especially when it comes to preparing for high-demand back-to-school and holiday seasons later this year.

“The 90-day pause on the retaliatory tariffs is helpful for immediate planning, but remaining uncertainty makes mid-term and long-term planning difficult for businesses. We support fair trade and would welcome a robust, long-term tariff strategy that provides clarity and stability for our industry to adapt and evolve as needed.”

Mlynczak writes that, while there's widespread recognition that U.S.-based manufacturing is “very strong” in the musical products sector, NAMM and its partners continue to advocate for U.S. manufacturers who rely on materials not readily available in the States.

“We persist in our efforts to ensure that iconic Made in America brands can continue to compete in the United States and globally. Our advocacy efforts include submitting impact statements and comments on Section 232 investigations through the federal review process as well as working on global retaliatory tariff exceptions” – referring to the advocacy trip to D.C. made by NAMM representatives and a group of guitar industry heavyweights during the Section 232 comment period, in an effort to exclude tonewoods from the proposed lumber tariffs.

Amidst more favorable relations with China, the government has also recently announced it's slashing tariffs on small parcels sent from mainland China and Hong Kong. As a result of these new negotiations, tariffs on small or “de minimis” parcels – sent from abroad via post and valued at up to $800 – have been reduced to 54% from 120%.

The “de minimis” loophole – a US tariff exemption introduced in the ’30s and responsible for a high volume of cheap consumer goods – had effectively been closed by the Trump administration in early May with the introduction of the tariff.

NAMM had supported this move, stating, “It allows our U.S.-based retailers to compete with online-only overseas brands at the same tariff rates.”

As such, the de minimis tariff reduction is potentially not such good news for U.S. musical instrument retailers stocking lower-value products, as Chinese firms have been able to go direct-to-consumers and undercut them for years now on cheaper items. Though, with a 54% tariff remaining, the playing field is considerably more level for these firms.

The latest update will likely prove beneficial for small builders – for instance, pedal manufacturers – who often rely on these retail channels for sourcing components.

According to reports by the BBC, President Trump has asserted that some of the levies have been suspended – rather than canceled altogether – and that they might rise again in three months. However, Trump has also said that he doesn’t expect them to reach the previous 145% peak, claiming that, “we're not looking to hurt China.”

The uncertainty surrounding tariff policy, therefore, appears to be rumbling on, but manufacturers and retailers now have a 90 day window in which to react.

The results of the higher tariff policy that existed prior to this point may still be felt by consumers, given the resulting reduction in shipping.

Even if Chinese producers start shipping again immediately, we could still see gaps and product shortages as a result of the time it takes to physically move the products to U.S. shores once again.

NAMM's latest update follows Mlynczak's previous statements advocating for the safeguarding of the industry, including urging the administration to “exempt musical instruments and accessories, along with materials used to manufacture musical products”.

Guitar World will be publishing an exclusive interview with Mlynczak about the tariffs in the coming weeks.

Amid current uncertainty regarding the recently announced (and, in some cases, imposed) tariffs and their impact on the musical instrument market, John Mlynczak, President and CEO of the National Association of Music Merchants (NAMM), continues to voice his concern while advocating for the safeguarding of the industry.

“The consensus is these tariffs can be really devastating for our industry and it's devastating in several ways,” asserts Mlynczak in an interview with Guitar World.

“It's not just the sudden costs that will have to be figured out by companies individually, but it's also the disruption of supply chains. It's the unpredictability, uncertainty, and the suddenness of the tariffs. Companies do not have the time to plan, adapt, evolve or make any changes.

“We are leading a small delegation in D.C. to specifically meet with the Ways and Means Committee members [the government body which shapes fiscal legislation including taxes, tariffs, and social service programs] and to lobby against tariffs.”

A few weeks ago, Mlynczak issued a statement on the tariffs and its impact on the U.S. music products industry, and urged the administration to “exempt musical instruments and accessories, along with materials used to manufacture musical products”.

Both boutique and legacy brands have voiced their concerns – with the impact on most companies already being felt. Moody’s downgraded Fender's credit rating, with the analyst taking the new tariffs into account.

Electro-Harmonix founder Mike Matthews highlighted that not purchasing from abroad isn't an option for most States-based gear companies – while Morgan Amps has confirmed the tariffs will have a noticeable knock-on effect on the price of its amps.

“The most important thing people can do right now is [to] call your member of Congress,” Mlynczak insists. “We are hearing from our lobby firm that [it's] the way the automakers and Apple have gotten exclusions, [as] there's no process for exclusions yet. We are hearing that it's because of pressure on Congress.

“When you pressure your member of Congress, even though there's no bill and there's no process for Congress, that member of Congress can take that pressure and push it on their other folks, internally in D.C.”

A group of guitar industry leaders came together this week on Capitol Hill in Washington, D.C., for the first time in 17 years to advocate for the importance of tonewoods and their vital role in the American musical instrument sector.

The delegation, which, according to reports by Guitar.com, includes NAMM CEO, John Mlynczak; Gibson’s Erin Salmon; Martin’s John McElroy; Fender Executive Vice President of Product, Justin Norvell; PRS Director of Supply Chain, Meghan Efland; and Taylor Guitars Director of Sustainability, Scott Paul, has already met with Tennessee Senator Bill Hagerty, with plans in place to continue advocating efforts.

As Donald Trump's tariffs continue to trigger shockwaves in markets across the globe, the musical instrument market is requesting an exemption in an effort to sustain the U.S. music products industry, which largely depends on instrument production and manufacturing in other countries, as well as sourcing raw materials that aren't available in the United States.

Trump's administration argues that the tariffs were implemented to help domestic U.S. manufacturers, due to what has been deemed “a lack of reciprocity in our bilateral trade relationships” which makes it increasingly difficult for U.S.-based manufacturers to sell to other markets – constituting “an unusual and extraordinary threat to the national security and economy of the United States.”

The President and CEO of The National Association of Music Merchants (NAMM), John Mlynczak, has since responded to Trump's tariffs, urging the administration to “exempt musical instruments and accessories, along with materials used to manufacture musical products.”

“The negative effects of these measures threaten the economic and cultural impact of U.S.-made musical instruments and accessories,” the statement reads, “as well as cause our U.S. music products industry to lose its global competitive advantage in producing high-quality products, especially at professional and entry levels.”

The statement continues by saying that the 90-day pause – until July 9 – on reciprocal tariffs announced last week via an executive order is a “welcomed measure”. However, the continued “unpredictability” of these tariff actions has caused major disruption for companies and made it difficult for them to react “in a meaningful way.”

“The back-and-forth raising of tariffs between the U.S. and Chinese governments that we have witnessed this past week will have serious business implications and create consumer turmoil for the music products industry. The effects of these sudden and unpredictable tariff actions will have a long-term effect on musicians worldwide.”

Mlynczak also confirmed that last week, NAMM sent a letter in support of U.S.-based acoustic stringed instrument manufacturers, in an effort to dissuade the U.S. Secretary of Commerce from imposing additional tariffs on important tonewoods.

“These tonewoods are often impossible to grow in the U.S., and they are used to create many iconic music products for American brands.”

In a previous statement, Mlynczak pointed out that “the share of all U.S. imports from China is 13.4%, the music products industry’s China imports are 43%. Vietnam is 4.2% overall, while the music products industry is 26%.”

Boutique and legacy guitar brands alike are currently struggling to adjust to the new tariffs. Fender’s credit rating was recently downgraded by Moody’s, with operating costs speculated to rise by $20 million, while Morgan Amps has also stated that the new tariffs will add up to $1,000 to the price of its amp heads.

Amid the escalating trade war, a new documentary, released by a state-run Chinese TV network, appears to confirm that the President-endorsed Trump Guitars are being manufactured in China.

NAMM 2025: Gretsch has refreshed its flagship Professional Collection with new looks and specs for the semi-hollow Broadkaster and Broadkaster Jr. Center Block, and the Nashville, Tennessean, Falcon hollowbody electric guitars.

As Gretsch guitars go, these are the cream of the crop, made in Japan [you'll have to look at the Gretsch Custom Shop for a US model - ed], with top-shelf builds and components.

On the face of it, Gretsch can look like a heritage brand, its most radical shapes rooted in the golden era of electric guitar design – and rocked by rock ’n’ roll trailblazers such as Bo Diddley and Billy Gibbons. Its bread and butter is the semi and fully hollow designs that are instantly recognizable conduits for ‘That Great Gretsch Sound’. There is no hiding from the weight of history.

But Gretsch is always improving the recipe. Take these new for 2025 Broadkasters LX models: available as the singlecut Broadkaster Jr or as the double Broadcaster, these have a newly designed Channel Core center block which is carved from maple and spruce that Gretsch promises lends the guitar a “faster attack and enhanced midrange punch”.

Both models ship with the new Pro Twin Six humbucker pickups and are designed for high-volume rock ’n’ roll – the center block will help nix feedback in high-gain settings.

Elsewhere, you’ve got your Standard U profile neck, the 24.6” scale length, and top-quality hardware, too. These have string-through Bigsby B7GP vibrato tailpieces and Gotoh locking tuners, in gold because why not – these are flagship models and gold looks a treat with these finish options.

The Broadkaster Jr. LX Center Block is available in Midnight Sapphire and Blackberry. The Broadkaster LX Center Block is offered in Black and Cadillac Green. Both are priced $2,699.

For many players, the Falcon has been considered the ne plus ultra of Gretsch design and it looks like this years’ Professional Collection is not going to disavow anyone of that opinion. This hollow-bodied beaut ships in Cerulean Blue, Black (with nickel hardware) and of course White with gold hardware is an option too.

Priced $3,599, it is no cheap date but for your money you get one of the most iconic hollowbodies of all time, with a pair of PRO-FT Filter’Tron humbuckers providing the snarl, and a string-through Bigsby B6GP vibrato.

Even unplugged, this will have some real resonance to it from a fully hollow maple body that’s 17” wide and 2.5” deep and has Gretsch’s Arc-Tone bracing.

The Arc-Tone system places torrefied maple tone bars and “arc-shaped spruce supports” underneath the bridge to enhance the tone and help control the feedback that is one of the occupational hazards of playing hollowbodies.

You’ll find some common threads across all these Professional Collection models. The Standard U-profile necks, the 12” radius rosewood fingerboards with rolled edges, the locking Gotoh tuners, electronics featuring a treble bleed circuit and master no-load tone control with “Squeezebox” capacitor. The Adjusto-Matic bridges (with pinned ebony or rosewood bases) complement the Bigsby vibrato nicely.

And great finishes. Again, the Tennessean is resplendent in Havana Burst, Deep Cherry Stain and Walnut Stain. At 16” wide, the Tennessean is slighter slimmer than the Falcon but it too has the Arc-Tone bracing and it shares the PRO-FT Filter’Tron pickup configuration. The Tennessean Hollow Body is the most affordable of the new Professional Collection and is priced $2,499.

Finally, we have the Nashville Hollowbody, and in Orange Stain, Midnight Sapphire or Cadillac Green it is a knockout, especially with those color-matched headstocks – and the horseshoe inlay(!) – and gold hardware.

You’ll find a pair of the PRO-FT Filter’Trons, a Bigsby B6GP vibrato, and arguably the “quintessential” Gretsch tone. As Gretsch says, the Nashville is often the guitar that people hear in their heads when they think of the brand’s tone. It is priced $2,699. All prices include a hard-shell guitar case.

Like its fellow Fender-owned brand Jackson, who just stealth-released its new Pro Plus Pure Metal series, Gretsch has just slipped these Professional Collection models onto its website, so we have no firm details as to when they are available.

But you can check out more pics and spec details over at Gretsch.

NAMM 2025: New York’s Pigtronix has repackaged the ethereal sounds of its Cosmosis ambient reverb pedal into a single-footswitch compact pedal, dubbed the Cosmosis 1.

Its predecessor arrived in late 2023, having been years in the making. Marketed as an ancient reverb, it proved sci-fi-themed a winner, delivering first-of-its-kind 'verbs that players could practically float in.

The Cosmosis 1, in turn, looks streamlined and easier to operate, without compromising the galaxies that the stompbox offers underfoot.

Two footswitches and four dials have become one and three, with controls for Tone, Blend, and Size now joined by Space and Preset mini switches. A high/low pass filter lets the Tone knob brighten or darken the effect, with Blend dictating its wet/dry mix, and Size swelling it to leviathan proportions.

Its in/outputs remain top-mounted, with the same three reverbs – Theatre, Temple, and Cosmos – on offer. Of those three voices, or 'spaces' as Pigtronix is calling them, Theatre (indicated by a blue LED) places players in a “variable room that ranges from cozy to highly reflective using multiple parallel short reverberators”.

Temple (amber) “ occupies a dramatic, large indoor space by implementing numerous long reflections in both parallel and series,” and Cosmos (purple) takes a leaf out of Strymon's well-read reverb book for a more angelic tonality.

More importantly, however, its signature Morph feature has survived the move, despite the loss its dedicated footswitch. It causes the three parameters controlled by the onboard knobs to oscillate between different states pre-dialled with the trio of knobs for dramatic and dynamic shifts and psychedelia in abundance. It is unlocked by pushing and holding down the footswitch.

“Maintaining all of the functionality of the original dual-footswitch Cosmosis, the Cosmosis 1 prioritizes a streamlined interface that gets you to your favorite sounds even more quickly,” says Pigtronix.

“The three unique space algorithms found inside of Cosmosis 1 are entirely original and comprise a combination of primary source impulse responses, imagined reflections, and inspired mathematics.”

For players after a little vintage panache in amongst the stardust, when given plenty of Blend and Size, the Theater mode unveils a 1960s room reverb that will make “Beatles fans rejoice”.

The pedal, it proudly says, conjures “enormous spectrums, ghostly reverse effects, and heavenly reverbs” alike.

Priced at $149, it features buffered bypass switching and is stereo-operable via a TRS output terminal.

Head to Pigtronix for more information.

NAMM 2025: No need to be hunched over the Klondike, sieve in hand, scraping around in the sub-zero mud – there’s now an easier way to get your hands on some precious metal. Yep, MXR is launching the 50th Anniversary Phase 90, giving the iconic phaser pedal, beloved by Eddie Van Halen and countless others, a gold makeover.

We’re not sure how pure the gold is that MXR has used in the engineering of this super-shiny gold finish, but if electric guitar tones were measured in carats the Phase 90’s chewy swirl would be 24 – and then some.

This 50th Anniversary special edition might have a new look but the tone is very much early to mid ‘70s. You have one knob (Speed) that does everything you need. Just stick it on your pedalboard and you are good to go for the phase-shifting sounds that EVH used on Van Halen’s Atomic Punk, Eruption, etc. David Gilmour used one on Pink Floyd’s Shine On You Crazy Diamond, and this one will, quite literally, shine on....

It's set to drop on March 18 and they are limited edition, so you’ll want be quick if you plan to scoop one up. MXR isn’t saying how limited but you know what it is like with special run pedals, scalpers, and the eye-watering prices on the used market... Speed is of the essence.

If you are wondering where you have seen this before, in 2022 MXR did officially release a super-rare 50th Anniversary edition of the Phase 90 in gold. This, however, was only for its “closest friends in the industry”. Now, the Jim Dunlop-owned guitar effects pedal company has said, “it was too good to keep to ourselves”.

Script Logo, Block Logo... redesigned by Auric Goldfinger, we at Guitar World are huge fans of the Phase 90 in all its guises – our own Chris Gill even wrote a love letter to the Phase 90 and its impact on guitar culture.

It is compact. It couldn’t not be simpler to use. Its four-stage phase-shifting is one of those elemental modulation sounds that can be use in all kinds of different styles, and it has. Besides EVH and Gilmour, you might find it on the pedalboards of John Frusciante, Robin Trower, John Petrucci, Tom Morello, and many more.

If you have always wanted one but for whatever reason did not like the color orange, your ship has officially come in. The 50th Anniversary Phase 90 is available from March 18, priced at $200.

Don’t sleep on it; these gold anniversary editions don’t last long – EHX’s Big Muff Double Anniversary Big Muff Pi fuzz pedal sold out within hours of its release.

Keep an eye on Jim Dunlop for more details.

NAMM 2025: Suhr has gone short-scale with its latest electric guitar, with the OSO built to the 24.625" scale length often utilized by Gibson and PRS.

With Mateus Asato, Scott Henderson, and Pete Thorn – recently announced as part of the SatchVai band – among its signature artists, the Lake Elsinore, California-based luthier has seen its stock take an upward trajectory of late. This latest foray into stunted territory, with a curvaceous Tele-type body, won't do it any harm, either.

A trio of woods – an alder body, roasted maple neck, and rosewood fingerboard – provide its typical tonal heart, with some models being bestowed a fourth via a figured maple top.

The neck varies across models. It’s sculpted to Suhr's Historic C-profile with a 22-fret rosewood fingerboard on its Two-tone Tobacco Burst model – and an Even Slim C-profile with an Indian rosewood ‘board on the Tea Burst variant.

As ever, there's a black sheep among the flock, with the Orange Satin finished model going all out with a mahogany body and Even Slim C-profile neck, figured maple top, and an Indian Rosewood fingerboard. That change in tonewood is reflected in its $4,449 pricing.

When it comes to hardware, the premium builds stay in-house, which is consistent across the series. That includes fixed two-post, solid saddles and steel block bridge, and Suhr SSV-Neck and SSV-Bridge humbuckers.

Described as the firm’s most popular ’bucker of choice, the single screw pickups pride themselves on “the warmth of a vintage humbucker,” and an “increased clarity, definition, and range” thanks to an output far hotter than vintage-flavored designs typically dare to go.

The bridge pickup in particular vies for the sought-after PAF-like tones of yesteryear – both are here given simple black with silver pole pieces aesthetics.

To the casual observer, a Gibson-style 24.625" scale length may seem strange on a T-style, but many players prefer the range it gives, which improves fret access for big stretches – and that makes sense for a high-performance brand like Suhr.

Priced upwards of $3,800 and available in four finishes the OSOs aren't exactly budget builds. Rather, this is Suhr throwing the most lavish specs at its first shorter-scale design since the Aura, itself based on the Gibson Les Paul.

Having first teased the guitars on its Instagram, inviting players to “experience the all-new Oso Short Scale” at NAMM, GW duly popped by the Suhr booth at the weekend and the model was drawing a lot of eyeballs.

There is little more information at this time, with an official launch date yet to be mooted.

Keep your eyes on Suhr for more information in the future.

NAMM 2025: Fender hopes to come to the aid of players who find inspiration strikes away from the confines of a studio or full home recording setup. Its answer, the Fender Link I/O interface, is “a studio-grade audio interface designed to fit in a pocket,” to help capture quickfire recordings anytime, anywhere.

It’s a familiar concept by now, but Fender entering the field is the latest step in its integration to the home recording market. As such, the Link I/O aims to be a “one-stop solution” with jack inputs for instruments and a headphone output. It’s compatible with phones, tablets, Macs, and PCs, with the promise of latency-free tracking prevalent across all devices.

Regarding recording quality, the compact interface boasts “pristine, bidirectional audio over USB connection,” via “uncompromising 24-bit / 96kHz audio”. That means players can expect high-fidelity riff capturing on electric guitars and basses with either passive or active pickups.

Its input stage has been designed to replicate the dynamic response of much-adored Fender amps for a more authentic recording experience. At the same time, its streamlined controls allow players to personalize their experience with little faff. Side-mounted controls for monitoring levels, assisted by a reactive LED signal meter and a pad switch to better accommodate high-output guitars, ensure clipping and sub-par recordings can be easily avoided.

There have been some heavyweight additions to the audio interface market in recent months, with Blackstar’s Polar 2 getting rave reviews for its ability to replicate the sound and feel of a tube amp. Native Instruments has weighed in with its plugin-friendly Komplete Audio 6, and alongside Universal Audio's Apollo Twin X, they have how far the tech is advancing.

The mini interface market is becoming just as dense, too, meaning Fender will have to fend off competition from the Apogee Jam X ($199), which has a built-in analog compressor, and IK Multimedia's long-standing one-knob wonder, the iRig HD X ($119).

At $79.99, though, the Link I/O’s low-ball price tag (combined with Fender’s mass market nous and reputation) should see it carving out a foothold pretty quickly.

“Whether tracking the next big song or practicing through a favorite amp simulator app, quality recording is always on the go with the Fender Link I/O,” says Fender. “It is the perfect tool to capture the next riff.”

The Fender Link I/O Interface will arrive in the spring and is set to cost $79.99.

Visit Fender for more.

NAMM 2025: Under the cover of darkness – or at least not making a song and dance about it on social media – Jackson has expanded its Pro Plus Series high-performance electric guitar lineup with the limited edition Pure Metal range.

The collection comprises the Pure Metal Rhoads RR1A, the Soloist SL1A and the Kelly KE1A and pares this trio of classic Jackson guitars down to the essentials; a single humbucker pickup, a Floyd Rose 1000 series double-locking vibrato and a black finish because this, after all, is the Pure Metal Series.

But it’s not that the Californian brand has thrown its lot in with aesthetic minimalism here; the Pure Metal range’s Creme binding and matching Jackson logo on the headstock gives this trio an upscale look.

All three share a lot in common. We have solid poplar bodies as standard with neck-through builds, and a three-piece maple neck that’s whittled down into the über-speedy profile that you would expect from Jackson. There is also a big tone dividend to be had with this build. As the firm notes, “This beast of a guitar is built for speed, equipped for domination...”

“True neck-through-body construction has been a Jackson hallmark since 1980, allowing for greater playability, warmer tonal spectrum and enhanced sustain,” explains Jackson. “This method of guitar construction involves seamlessly extending three pieces of maple wood used for the neck through the entire length of the body.”

Those necks have been reinforced with graphite rods, so they may be skinny but they are built tough, resisting the slings and arrows of temperature and humidity fluctuations. They are topped with 12” to 16” compound radius ebony fingerboards that seat 24 jumbo stainless steel frets. These will feel slinky.

Jackson has also equipped the new trio with a single Fishman Fluence Modern humbucker at the bridge position, hooking it up to a no-messing control circuit that comprises a single volume control with a push/pull function for accessing the Fishman’s alternate voicing. Who touches the tone on a metal guitar anyway?

The Kelly looks a good bet for any player looking to nail the Rust in Peace-era Marty Friedman look and sound. The Rhoads would be ideal for those who wish to board the Crazy Train but don’t look good in pinstripes (or polka-dots), while the Soloist remains the ür-shred Strat-style guitar.

Other details include Luminlay side-dot markers, which glow in the dark and ease fingerboard navigation when, y’know, playing a midnight show under a moonless sky. Pearloid sharkfins remain one of the coolest fingerboard inlays you will find on the market.

We’ve got chrome hardware, with Jackson-branded sealed die-cast tuners, dome-style control knobs. And they all ship in a gig bag.

There’s no firm word on when these are available. But the Pure Metal Soloist is priced $1,299/£1,349, the Kelly is $/£1,399 while the Rhoads will set you back $1,499/£1,399, and if you want more details and pics, head on over to Jackson.

NAMM 2025: EVH is bringing the goods by honoring the legacy of Eddie Van Halen – guided by his son, Wolfgang Van Halen. Alongside the already-announced SA-126 Standard – which introduced Wolfgang's first signature model into the sub-$1,000 category – EVH is also treating guitarists to two other models: the Wolfgang Special T.O.M. and the Wolfgang WG Standard T.O.M.

Wolfgang Special T.O.M.

Tried and tested in arenas around the world, the $1,299.99 Wolfgang Special T.O.M. is described as a “purebred music-making machine” that combines “stunning style, giant sound, and high-speed playability.”

First off, it features a basswood body with an arched top and a graphite-reinforced bolt-on quartersawn baked maple neck, carved and rolled to Eddie's exacting specifications – plus a hand-rubbed satin urethane finish on the back.

The 12”-16” compound radius baked maple fingerboard is outfitted with 22 jumbo frets and black dot inlays, while a pair of flagship, custom-designed EVH Wolfgang Alnico 2 humbuckers guarantees “dynamic yet articulate voicings” as well as “endless sustain for powerful chords and melody lines.”

A “sturdy” EVH compensated bridge and tailpiece, fine tuners, a volume knob with a treble bleed circuit and a 500K EVH Bourns low-friction pot, and a 250K Bourns high-friction tone pot on the tone knob round off this meticulously spec’d guitar.

Moving on to aesthetics – the EVH Wolfgang Special T.O.M. is available in attractive Gloss Black and Husk White colorways with black hardware and Oxblood with gold hardware.

Wolfgang WG Standard T.O.M.

Meanwhile, EVH is also releasing a more affordable counterpart, the Wolfgang WG Standard T.O.M., with a $599.99 price tag.

This cost-conscious version boasts a fawk bound basswood body with a “comfort cut” forearm contour for “enhanced playability,” a bolt-on baked maple neck with graphite reinforcement, and a spoke wheel for easy truss rod adjustments.

Like the pricier version, it also includes a 12”-16” compound radius baked maple fingerboard, 22 jumbo frets, and black dot inlays – but is kitted with dual EVH Wolfgang humbucking pickups instead, as well as black speed volume and tone knobs with 500k pots for more “precise tone control.” And for the aesthetically inclined, it comes in Gloss Black, Cream White, and Sea Foam Pearl Metallic finishes.

In a 2023 interview with Guitar World, EVH's Matt Bruck commented on Eddie's lasting impact on the brand. Bruck, Eddie Van Halen’s former guitar tech and business partner, has worked alongside Wolfgang to carry on Eddie’s legacy following his passing in 2020.

“Ed left a lot of ideas for us to develop,” he said. “We are committed to delivering all of them. We worked with Ed for a very long time, and we know what he would want.”

Additionally, it’s important to note that these two guitars are available strictly as hardtail models. This marks a departure from previous Wolfgang releases, which came fully equipped with the Eddie-approved Floyd Rose locking tremolo, signaling a new direction for the brand.

As Bruck asserted, “More people play stop-tails than guitars with locking tremolos. We dig both and we want to show people what we can come up with.”

For more information about these new models, visit EVH.

NAMM 2025: Coheed and Cambria frontman Claudio Sanchez has unveiled a new signature guitar, the Jackhammer, which he’ll be producing under his own Evil Instruments brand.

Those familiar with Sanchez, the restless creative mind behind the band – who alongside 11 studio albums, has also penned a series of comic books and novels and has a musical side project The Prize Fighter Inferno – will not be surprised by this seemingly bold step into luthiery.

However, he’s not going at it alone. Sanchez – who reportedly drew up the designs himself, with input from his longstanding guitar tech Kevin Allen – will team-up with US manufacturer Dunable, who have a well-respected name in heavy circles.

The Jackhammer appears to take in a blend of inspirations from Sanchez’s long-favored Gibson Explorer, through to the SG and the enlarged curved horn of Dunable’s own Gnarwhal design.

The Jackhammer name is a reference to a weapon/ship from Sanchez’s Amory Wars saga – the narrative of which runs throughout Coheed’s albums – and is memorably mentioned in the lyrics of Coheed track In Keeping Secrets of Silent Earth: 3 (“Man your own jackhammer!”)

The Jackhammer guitar, meanwhile, will be available as both a high-spec US-made option and an import South Korean build, presumably produced in the same facility as Dunable’s DE builds.

In terms of specs, the US model includes a mahogany body and five-piece maple neck, ebony fretboard, Grover tuners and hardware and Bare Knuckle pickups. Then there’s a nitrocellulose finish and a bundled Gator hard case.

The South Korean option offers a mahogany body and neck, ebony fingerboard, Alnico V humbuckers, a gloss finish and comes with an Evil Instruments branded hardcase.

There’s no word on neck shape or scale-length at present, but it’s a pretty safe bet to assume it will be 24.75”, in keeping with the Explorers Sanchez has long used.

On that note, Sanchez’s comments around the launch would suggest he pursued the possibility of a signature with Gibson directly, but was either unsuccessful or unable to come to an agreement.

A limited edition Epiphone Claudio Sanchez Explorer run would have been an interesting proposition, for example, but not to worry – Gibson’s loss is Dunable’s gain – and, as a result, we’ve got a brand new body shape coming to the market.

“As most of you know, I've played a Gibson Explorer for over 20 years, and like any artist whose identity has become synonymous with a particular make and model, I have always longed for a signature model,” says Sanchez.

“Since that hasn't come to fruition, and keeping in line with my creative spirit and DIY methodology, I've chosen to create one from the ground up. A guitar that makes sense for me and is completely my own. We have developed this over the last couple years to meet my lofty aspirations... I present Evil Instruments' Jackhammer.”

Prices for the line will start at around $1,600. Pre-orders will launch in the coming weeks via Reverb.

NAMM 2025: Budget champion Harley Benton has introduced a brand-new signature model – the Guitar MAX Fusion Signature – in collaboration with heavy metal guitarist and YouTuber Maxxxwell Carlisle.

The Guitar MAX Fusion Signature features a bolt-on neck design with a 25.5” scale length, a Nyatoh body with wooden binding and an ultra-flame maple veneer, and a Floyd Rose 100 tremolo with a locking nut, which, according to Harley Benton, “keeps the tuning in check” even with “the most vicious whammy bar use.”

Other specs include a roasted flame maple neck with a classic reverse headstock and fingerboard. The neck boasts a modern “C” profile, while the fingerboard has a flat 12” radius and is loaded with 24 stainless steel medium jumbo frets.

Rounding off the Guitar MAX Fusion Signature's specs are Tesla Plasma-X1 and Tesla Plasma-RS2 pickups in the bridge and neck positions, respectively – delivery “screaming leads to funky rhythms, and everything in between.”

A mini-toggle switch allows players to toggle between humbucker and a coil-split single-coil-style voice for added tonal versatility. To top it off, the guitar comes in a “striking” Emerald Green finish that is sure to turn heads.

The popular YouTuber had previously addressed concerns about his signature model and debunked myths surrounding the brand, which is owned by German-based retailer Thomann.

He clarified that his signature guitar is not made in China but in Indonesia, a popular manufacturing hub for many leading guitar brands – including the recently launched $599 Fender Standard Series.

“My signature guitar and the Fusion series, and certainly all of the guitars that have roasted necks and things like that – those are all Indonesian-made.”

He also addressed the confusion surrounding the Harley Benton brand, clarifying that the name was chosen simply because it sounded good – and was not modeled after a particular founder.

Despite this, it is clearly cementing its position in the budget-friendly guitar market, most recently announcing an all-new twin humbucker S-style electric guitar inspired by Tom DeLonge’s signature Strat, launched in 2023.

The Guitar MAX Fusion Signature is available in Emerald Flame, Purple Flame and Holographic finish options, priced at $435. For more information, visit Harley Benton.

NAMM 2025: DigiTech's 2022 takeover by Cort owner Cor-Tek seems to have bolstered the company, enabling it to take its experimental essence even further. With DigiTech already delivering the boundary-pushing MonoNeon Whammy this NAMM, it’s now continuing to push the envelope with the brand-new DigiTech HammerOn – a “hands-free, hammer-ons” pedal.

“At DigiTech, we have always been intrigued with incorporating natural guitar playing techniques with guitar effects,” comments DigiTech.

“Guitar players know hammer-on and pull-off guitar playing techniques have a different, more subtle and expressive feel. We wanted to extend this concept of adding additional notes to include foot control that can work in conjunction with your hands and fingers to multiply the options for creativity and increase the range of notes beyond the reach of your fingers.”

At first glance, the HammerOn appears to be a quasi-hybrid of the Drop – which allows players to drop their tuning from one semitone to a full octave – and the Ricochet, DigiTech's stompbox Whammy. However, it takes things even further, as it’s loaded with multiple effects, or as DigiTech puts it, “seven pedals in one.”

To start, each of the HammerOn's Pitch 1 and Pitch 2 footswitches can be assigned an interval to which the pedal transposes once the respective footswitch is pressed and held. There are 27 pitches to choose from, ranging from two octaves down to two octaves up, and various intervals in between.

But this is just mode one of the pedal's seven operational modes. The second mode, Hammer-on with Trill, turns a single switch press into multiple rapid-fire pitch shifts, with speed adjustable via the Select knob.

The third mode, Harmony-on, blends the dry guitar signal with the pitch-shifted signal to create harmonies based on the selected interval. In Impossible mode, pressing the Pitch 2 footswitch gives you hammer-on pitch shifts that alternate between two selectable pitch amounts.

Moving on to the fifth mode – Drop/Capo Sequence – which, as the name implies, enables players to step through alternative drop/capo tunings or programmable pitch-shifted note sequences. Sequences are further explored with the Sequence with Trill mode, an automatic riff sequencer.

The seventh and final mode, the Sequence with Dry+ and Trill, might be the most intriguing, as the sequence is combined with the trill effect and dry signal to produce what DigiTech calls an “automatic techno guitar sequencer.”

Priced at $279.99, it is now available at all DigiTech partner retailers. Now, if only DigiTech could hurry up and release a demo video!